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camp/camp.json
vaishk af436b523c changes
2017-07-03 13:44:07 +05:30

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"header": "December 6-9, 2007<br /><br />\nAn outdoor computer kiosk from where a number of neighbourly connections were managed. These are a combination of recorded video, live audio and live electrical connections, testing possibilities at the juncture of the database, its \"location\", and its live interpretation by various publics.",
"body": "A \"kiosk\" with a touch-screen and video screen, connected to neighbourhood audio and data streams, was set up for four days at the Bandra promenade. Multiple types of connections (video, audio, electrical), relationships between live and recorded material, and the various elements of the existing context, were brought into play. <br />\nThe principal types of links were: <br /> <br />\n\n1. About 80 short video clips were produced, at 9 or 10 different locations. These were viewable at the kiosk, by navigating through a set of pictures in a browser, a bit like on a website. <br />\n2. Electrical connections were made between the kiosk and these locations, so as you watched the video one could also \"light up\" the house, street corner, etc. where the video was \"coming from\", or other locations visible from there. This was a parody or extreme case of \"mapping\". <br />\n3. Live audio was being mixed and broadcast on micro-fm, received on radios on the ground and in the flats. In this way the multiple locations could all hear the discussion at the kiosk. \n<br /><br />\n\nThanks to: <br />\n Vickram Crishna, Ravi Jagtiani, Sheikh Mohammed Shareef, Subhash, Ridhi D'cruz, Abhishikta Banerjee, Benson Almeida and Richard Fernandes and Celebrate Bandra.<br /><br />\n\nSpecial thanks to:<br />\nLal Bahadur Mastana, Rao family at Kalpak Hites, Lalu Yadav, Sarju Yadav, Savio, Ali Tiwari, Feroze Khan, Mukesh Rais, Ram Parvesh guards, Mr and Mrs Beg at Kismet, Raheja family at Sunflower, Mrs Bajaj at Jackers, Roshan Dabhoiwalla, Dosu Setna, Vidya Vaidya. <br />",
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"datestart": "2007-12-07",
"dateend": "2007-12-09",
"dateadded": "2007-12-15T04:37:23Z",
"datemodified": "2007-12-15T04:37:23Z",
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"title": "Archive, Access, Anxiety",
"header": "December 21-22, 2007 <br /><br />\nAn extended discussion on digital archiving, hosted by <a href='http://www.oil21.org/'>oil21.org</a> and CAMP.",
"body": "Prithvi House, Juhu, Mumbai. \n<br />\nFriday, December 21, 2007.<br /><br />\n10:30 - 01:00 Introductions<br />\n1:00 - 2:00 Lunch<br />\n02:30 - 05:00 Discussion (1): Archive<br />\n06:30 - late Screening: From the Pirate Cinema Archives<br />\n<br />\nSaturday<br />\n10:30 - 01:00 Discussion (2): Access<br />\n1:00 - 2:00 Lunch<br />\n02:30 - 05:00 Discussion (3): Anxiety<br />\n06:30 - late Screening: From the Beginnings of a New Gathering<br />\n<br />\nINTRODUCTIONS:<br />\n<br />\nThe \"Introductions\" sessions are intended to provide entry points to the event and its format -- planned as a series of open and speculative discussions about both conceptual and practical issues of archiving, involving various disciplines. This will be the time for extended introductions to the participants, their background and experiences, and the questions that they bring to the table.<br />\n<br />\n<br />\n(1) QUESTIONS OF ARCHIVE:<br />\n<br />\n~ to archive, to gather, to classify. <br />\n<br />\nArchiving can be described as a relation to objects that neglects, ignores, circumvents or transcends both their exchange value and their use value. In a world where most objects are - in rapid succession - bought, used and disposed of, the archivist appears as a rather strange figure. The act of archiving seems to be an almost utopian gesture: to take care of an object, to find a place for an object, to protect and preserve an object. But there are other sides: the destructive and mad side of archiving, the regressive or naive denial of exchange and use value, compulsive collections, casual collections, inevitable collections and more. In this session we share specifics of why we (the group) archive, what we archive and in what ways we order or classify these collections. <br />\n<br />\n<br />\n(2) CONFLICTS OF ACCESS:<br />\n<br />\n~ to explore, to navigate, to mine, to get lost, to stumble upon. <br />\n<br />\nConflicts of access arise in two different types. There are, very obviously, countless cases of denial of access - to information, resources, means of production or places, cases of structural, planned and persistent inaccessibility. There is also a political ideology of \"making accessible\" that denies the very common experience that access, in a simplistic, purely technical way, is never enough: that it is context that needs to be created, that it is an encounter that needs to be allowed for, that it is always collectivity, and production, rather than just individual consumption, that waits to emerge when people seek access to things.<br />\n<br />\nMany of the metaphors that have been used to describe the archive as a place, or as structure, are references to nature: the archive as a garden is a very old idea, in conflict with the archive as forest, or jungle. In contemporary times, the archive as a mine or farm speaks of a change in the nature of value in the archive, no longer residing in its actual contents, but in the ability to extract and store visitor behaviour, and their patterns of interest. These are among other approaches to the question of access; such as the archive as river for instance, accepting the structure of the archive to be both directional and temporal, and taking into account phenomena such as driftwood, flooding, leaks, and even data loss.<br />\n<br />\n<br />\n(3) INSTANCES OF ANXIETY<br />\n<br />\n~ to be archived, to control and be controlled, to erase, to market.<br />\n <br />\nThe archive presents a range of indexical options that may be exercised to tease apart or align identities, owners, co-ordinates, and objects. The potential for such control is a cause for anxiety, both in what is archived, and among archivists. Such questions arise, at one level, at the boundary of what is archived and how it is classified, or what it is searched by: images by text, texts by author, video by source, location, and so on. At the same time, deeper patterns and consequences will accompany the publication of any archived material, in a context that is often not its \"original\" one, that may make it more or less vulnerable to censorship, \"personal offence\", and questions of property and propriety. <br />\n<br />\nThis section would turn such fairly common experiences among video-makers, for example, into open questions for the archive. The afternoon of anxieties proposes a gradual rearrangement of these clouds of doubt, with particular regard to the proposed shared video archive, older and existing footage collectives, and political moments where they were, or could have been, used. <br />\n<br />\n____<br />\n<br />\nTHE OIL OF THE 21ST CENTURY<br />\n<a href='http://www.oil21.org/'>www.oil21.org</a><br />\n<br />\nThe Oil of the 21st Century attempts to establish, through a series of events in the course of the year 2007, new critical perspectives on the often bizarre phenomena that present themselves at the new frontier of \"Intellectual Property\": from the rapidly expanding efforts to legislate the production and exchange of digital data to the various efforts to technically implement rights management systems, from the strange political agenda of the \"War against Piracy\" to the struggles against the commodification of the biosphere. <br />\n<br />\nThe Oil of the 21st Century is a project by Bootlab, based on a concept by Partner gegen Berlin, produced in cooperation with Sarai, The Thing and Waag Society, and funded by the German Federal Cultural Foundation.<br />\n<br />\n<br />\nPADMA <br />\n<a href='http://pad.ma' title='public access digital media archive'>http://pad.ma</a> <br /><br />\nis an ongoing public-access media archival project, centered around video as a medium of documentation, collection, argumentation and exchange. Its objective is to consolidate, densely annotate, and make available online several scattered collections of video material, to begin with in Mumbai and Bangalore. PADMA is a collaboration between oil21.org, Chitrakarkhana / CAMP, Majlis, Point of View, the Alternative Law Forum, and other future contributors. <br />\n<br />\n<br />\nParticipants:<br />\n<br />\n<a href='http://www.oil21.org/'>Oil21</a><br />\n<a href='http://www.camputer.org'>CAMP</a><br />\n<a href='http://www.chitrakarkhana.net'>Chitrakarkhana</a><br />\n<a href='http://www.majlisbombay.org/'>Majlis</a> <br />\n<a href='http://www.pointofview.org'>Point of View</a><br />\n<a href='http://www.altlawforum.org/'>Alternative Law Forum</a><br />\n<a href='http://www.debalie.nl/artikel.jsp;jsessionid=6158E3B2DA5CF5900468B7402579D9BF?articleid=17881'>Gujarat Shared Footage Group</a><br />\n<a href='http://www.doccentre.net/'>Centre for Education and Documentation</a><br />\n<a href='http://www.magiclanternfoundation.org/'>Magic Lantern Foundation</a><br />\nKausik Bhowmick<br />\nNancy Adajania<br />\nRanjit Hoskote<br />",
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"shortname": "cybercafe",
"title": "Kab Tak 256?",
"header": "An event and discussion held in a city cybercafe. Using readymade infrastructure (high bandwidth, computers, a room) to produce certain shared online and offline experiences. <br /> <br />\nUpdate: The cybercafe originally hosting this event and other related developments (such as databases of locally-accessible material) has had to shut down. We are looking at other options at the moment. <br /> <br />\nMeanwhile see also <a href=\"index.php?show=pastevents\">past events</a> by CAMP.\n",
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"title": "From the Category: Video Art. Part I",
"header": "Sunday, February 10, 2008.<br /><br />\nCAMP brings you a selection of works on video that are well-known and \"published\" in some form, but are generally hard to\nfind. In part I, these are mostly videos from the US\nand Europe, which also reflects conditions in the online networks, i.e. where we found them- which we would like to discuss. <br />",
"body": "\nSunday, February 10, 2008.<br /> 6 pm. - 9 pm. <br />\n<br />\nTogether, these videos form a sketch of the various sites/ situations from which art video is produced: the studio, the artists residency, the factory, the representation through \"drawing\", the reconstruction, the archive, the money. <br /?<br />\nWe will proceed as follows:<br />\n<br />\n<span class=\"blackness\">Martha Rosler [Semiotics of the Kitchen, 1975] 7 mins.<br />\nFischli and Weiss [Der Lauf der Dinge, 1987, excerpt] 5 mins.<br />\nCao Fei [Whose Utopia?, 2006] 20 mins.<br />\nWilliam Kentridge [Mine, 1991] 6 mins. <br />\nJeremy Deller / Mike Figgis [Battle of Orgreave, 2001, excerpt] 45 mins.<br /></span>\n<br />\nTEA BREAK, prithvi cafe. 20 min. <br />\n<br /><span class=\"blackness\">\nPeter Greenaway [The Coastline, 1983] 26 mins.<br />\nWalid Ra'ad and the Atlas Group [The Bachar Tapes, 2000] 16 mins.<br />\nNate Harrison [Can I Get an Amen? 2004] 18 mins. <br />\nK-Foundation [Watch the K-Foundation burn a Million Quid, 1995]. 45 mins.<br /></span>\n<br />\nThese videos were all downloaded over the last two weeks, from online sharing networks. Ofcourse, anyone with an internet connection can do this, and we shall see how. <br />\nThe event will include further opportunities to appreciate, discuss, \nand take part in the condition that: <br />\nparallel to (and not necessarily opposing) markets of absurdly-priced \nand controlled art (and other) objects, these \"copies\" exist, and are\nbeing shared and distributed for free. What motivates this phenomenon, \nand how are relations between such different \"publications\" sustained? \nWhat aspects of the original context, artistic intentions, institutional structures, and the nature of digital video itself contribute to this? Who benefits? <br />\n<br />\nA discussion will accompany the final video. <br />\n________<br />\n<br />\n\" Publicity operates through the threat of<br />\npublication, through the motivating force that<br />\naccompanies risk of exposure and desire for attention.<br />\nWithout that risk, there can be no public.\"<br />\n - Jodi Dean, Publicity's Secret.<br />\n________\n<br />\n<br />\nAt <br />\n1st Floor, Prithvi House, <br />\nOpp. Prithvi Theater, <br />\nJanki Kutir, <br />\nJuhu, <br />\nMumbai-49<br />\n<br />\n",
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"shortname": "padma launch",
"title": "Pad.ma Archive Launch",
"header": "Thursday, February 28, 2008. <br /><br />\n\n<a href=\\\"http://pad.ma\\\">PAD.MA</a> is an online archive of video material, primarily footage and not finished films, that has been densely text-annotated. The entire collection is searchable and viewable online, and is free to download for non-commercial use. <br />\nWe see <a href=\\\"http://pad.ma\\\">PADMA</a> as a way of opening up a set of images, intentions and effects present in video footage -- resources that conventions of video-making, editing and viewing have over time tended to suppress, or make unavailable.",
"body": "<b>Preview and website launch of <a href=\"http://pad.ma\">PAD.MA</a>: <br />\nthe public access digital media archive. </b><br /><br />\n\nThursday, 28th february 2008<br />\n6:00pm<br />\nJnanapravaha, <br />\n3rd floor, Queen's Mansion, <br />\n(Opposite Gallery Chemould)<br />\nG.Talwatkar Marg, <br />\nFort, Mumbai-1. <br />\nFor directions, see:<br />\n<a href=\"http://camputer.org/images/jnanaMap.jpg\" target=\"_blank\">http://camputer.org/images/jnanaMap.jpg</a><br /><br />\n\n<b>Event Timeline:</b> \n<br /><br />\n6:00 pm.<br />\nIntroductions, and the Collaborative Project: Shaina Anand, Ashok Sukumaran. <br />\nThe Dominant, Residual and Emergent in the Imagination of the Archive: Lawrence Liang.<br />\nLost/Found/Public, from Images to Narratives: Madhusree Dutta. <br />\nIntroduction to a True History of Digital Video: Sebastian Luetgert, <br />\nand Unveiling of <a href=\"http://pad.ma\">pad.ma</a> website with Jan Gerber.<br />\n<br />\n7:30 pm. Interval: Browse through the archive over tea and snacks. <br /><br />\n\n8:00 pm. <br />\nLegal framework: Namita Malhotra.<br />\nPractical FAQs, and how you can contribute: Sanjay Bhangar.<br />\nQ and A session, moderated by Bishakha Dutta.<br /><br /><br />\n\n<a href=\"http://pad.ma\"><img src=\"images/padma.jpg\" /></a>\n\n<br /><br />\n<a href=\"http://pad.ma\">PAD.MA</a> is an online archive of video material, primarily footage and not finished films, that has been densely text-annotated. The entire collection is searchable and viewable online, and is free to download for non-commercial use.\n<br />\n We see <a href=\"http://pad.ma\">PAD.MA</a> as a way of opening up a set of images, intentions and effects present in video footage-- resources that conventions of video-making, editing and viewing have tended to suppress, or leave behind. This \"expanded\" form then points to other political potentials for such material, towards less-known territory that lies beyond the finite documentary film format or the youtube clip. \n<br /><br />\nThe design of the archive makes possible various types of \"viewing\" and contextualisation: from an overview of themes and timelines to much closer readings of transcribed dialogue and geographical location, to layers of writing: clip-level descriptions and other annotations by both archive contributors and online users. At the moment, <a href=\"http://pad.ma\">PAD.MA</a> has approximately 150 \"events\" on video, mostly from Mumbai and Bangalore. This adds up to about 100 hours of fully transcribed video footage, which we expect to grow to more than 400 hours by early 2009. \n<br /><br />\nThe <a href=\"http://pad.ma\">PAD.MA</a> project is initiated by a group consisting of <a href=\"http://oil21.org/\">oil21.org</a> from Berlin, the <a href=\"http://www.altlawforum.org\">Alternative Law Forum</a> from Bangalore, and three organisations from Mumbai: <a href=\"http://www.majlisbombay.org/\">Majlis</a>, <a href=\"http://www.pointofview.org\">Point of View</a> and <a href=\"http://chitrakarkhana.net\">ChitrakarKhana</a> /<a href=\"http://camputer.org\">CAMP</a>. \n\n<br /><br /><br />\n",
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"title": "Sept Soirees ",
"header": "Sept Soirees was a series of battery-powered \"evenings\" in the Marche N' Gellaw, a suburban market in Dakar, Senegal. These evenings were conceived in a situation where there is scarce time, space or other resources for communal activity at a certain scale. Also because of the peculiar condition of cinemas in Dakar: there are only two still functioning. <br />\nThese \"micro-cinema\" and \"micro-radio\" events are performed by showing up at a street corner with some equipment, and negotiating the rest. <br />\n ",
"body": "See daily breakup on right for more details: <br /><br />\n\nTeam: <br/>\nPatrick Watkins, Daoda Arfang Kote, Nyaga, Ndiaga, Batje, Ableye and DJ Amala Doucoure. <br />\n <br />\nSpecial thanks to: <br />\nModibo Diaware, Baba Diop, Kan-si Salaam, Jean-luc, Manu Louisgrand, Paulette and our wonderful hosts at Ker Thiosanne: Marion Louisgrand, Francois Sylla, Marie-Anna Tsagouris, Moussa, Adama, Seree. <br />\n <br />\nThanks also to: <br />\nDjibril, Genova, Amadou Kane, Mamadou Pam, Rana Singh, Ramata. <br /> <br />\n\nAnd at Marche N'Gellaw, Abdour Rahman-ly, Macky Ndiaye, Usman Cisse, Diop et freres and many many others. <br /> <br />\n\nSept Soiress took place during a residency at Ker-Thiosanne during AfroPixel 08, part of the Dakar Off-Bienalle. \n",
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"shortname": "sheltervlove",
"title": "Shelter, Visibility, Love",
"header": "The ACAF (Alexandria Contemporary Arts Forum) in Alexandria/ Iskandariya, Egypt hosted a 4-day workshop conducted by Ashok and Shaina. \nParticipants in \"Shelter, Visibility, Love\" produced a variety of material that was placed in two temporary exhibitions.",
"body": "\nShelter, Visibility, Love.<br />\n(on the creation of insulations and openings)<br />In the context of the festival \"Cleotronica\" <br /><br />\n\nThe promise of the \"electronic space of flows\" is of cutting across the enclosures of the physical world. \nIt carries the dreams and anxieties of new community formations, undiscovered and \"partial\" forms of intimacy, and new forms of social encounter. <br /><br />\n\nAt the same time, and increasingly, we find these technologies enveloped in existing relations, customs, habits, boundaries of ownership, morality or law. It is also clear that acts of \"communication\" alone may not be enough to dissolve deeper boundaries. And then, which boundaries are worth dissolving? \nMuch of our ongoing work enters into this conceptual \nspace. <br /><br />\n\nA primary project of contemporary design is to keep things and people at a certain precise distance, so that the relationship may sit within a safe, acceptable range on the slider between the \"personal\" and the \"public\".\nIn this way the role of contemporary materials, interfaces and design strategies could be seen primarily as insulation, sheltering us from the effects of unwanted attentions.\nIn many cases this shelter is necessary, since utter exposure, total publication, can be brutal. But what other ways can we imagine, to traverse these terms?<br /><br /> The workshop is about building upon such ideas in terms of the practices of the artists and designers involved. How do they think about the question of how to keep the room cool(or warm), while keeping the doors and windows open, to encounters with the outside.\n\n\n",
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"header": "After many meetings with various groups in the market, we decided to begin with \"micro cinema\" for the premiere soiree. We chose Mandabi, (Le Mandat In French), by one of Senegal's well known directors (and novelists), Ousmane Sembene.",
"body": "Modibo D'awarre, a Senegalese filmmaker who had studied in FTII, Pune in the 90's had remarked in an earlier conversation: \"Directors like Sembene made subaltern cinema for bourgeois consumption. Their films followed in the tradition of the 'auteur' films, written, directed and produced by single individuals albeit with European funding.\" True, Sembene was Africa's export to world cinema, but like the films of Ray, were yet to be seen by the kind of audiences who constituted the subjects of their films.<br />\n\n<i>Mandabi</i>, The Money-Order (1968), his first film in Wolof, is very much in the tradition of our (Indian) social-realist parallel cinema of the late 60's and 70's. It tells the story of Dieng, a 'good Muslim' in Dakar who receives a money-order from his nephew who works in Paris. To get the letter read, he needs to pay someone. To cash the money-order, he needs a photo ID, for the ID he needs a birth certificate, and so on. The film unfolds across the slow and frustrating machinations of post-colonial bureaucracy even as the speedier 'social(ist)' norms of traditional and communal 'sharing' of the 'wealth' ensure that its well distributed and spent between wives, nephews, sisters, cousins, imams and corrupt officials. In all this humour and lightness are important characters, and distinguish this film from many others of its kind.<br /><br /> \n\nThe electricity for Soiree 1 had been provided by the director of the market, the genteel Abdoul Rahman-Ly who after agreeing had marched us into the office of the redevelopers to plug in. The men-folk had suggested Biscuiterie Rue-16 as the venue, one of the broader 'kognes' (lanes) leading of from the main road of the market. The screen was hung on the broad corner wall of a building from the balcony of a cousin of an old man Macky N'diaye who was surprising in his alacrity to get things done by 'giving' and not demanding. Sighting 'Toubab's' in the streets flush with European do-good funding was so commonplace in Dakar, it was to be a couple of days before the people at Marche N'Gellaw would begin to trust us, and give the project a different reading. For now, it seemed customary to ask for money, even though we would explain that the 'charge' was on the donor, via other currencies like electricity for the battery or other requirements like large speakers or a wall for the screenings. <br /><br />\n\nA large contingent of women arrived at 7:15; they were the women from the upstairs vegetable market who we had invited during an earlier rendezvous. Some came with radios, as we had mentioned FM at the meeting. A small FM antenna had been strung on a light pole, and the near-by shops were all requested to tune-in to 103 FM. A white board listed the Xew Xew (event) of the evening, with special guest Dj Amala (Radio Dakar) and the names of the people who had contributed 'courrant and recharge', in this case Abdoul Rahman-Ly, Macky N'diaye(for the balcony wall and for subsequent week long storage of mats and our equipment table) and Abdul Cisse from the fabric shop next door --we began running out of juice soon after DVD 1, there were about a hundred people into the movie, Cisse who had been watching from his shop counter was quick to plug the power and keep the projector going--",
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"title": "Jogeshwari Video Project",
"header": "<i>Pani Sare Dhaga Ma</i> (Water is In All the Clouds)",
"body": "A collaborative project: CAMP, <i>Agaaz</i>, <i>Akanksha Sewa Sangh</i> and Nikhil Anand (CAMP and PUKAR associate.)\n\n\n\n<br /><img src=\"images/piperspect.jpg\" alt=\"\" /><br />As in many cities, in Mumbai we barely witness the passage of water from rain to sea via lakes, watersheds, pipes, pumps, pots, human and animal bodies, drains and sewers. Even as these hidden passages describe a unique social, chemical and political structure, a map of ourselves in the modern world.<br /><br />More than many of us, residents in the slums of Jogeshwari spend time waiting and hurrying around this substance, its leaks and sources.&nbsp; As part of an investigation into the social life of water in these areas,&nbsp; <i>Pani Sare Dhaga Ma </i> (Water is In All the Clouds) is a collaborative project between youth of two community&nbsp; organizations- <span style=\"font-style: italic;\">Aakansha Sewa Sangh</span> and <span style=\"font-style: italic;\">Agaaz</span>, with CAMP and led by the researcher Nikhil Anand. Working together since march 2008, we have been thinking through questions of \"citizenship\" and distribution by looking at how residents form relationships with water and its infrastructures: including official water supply, alternative plumbing, ground water, tanker politics, and so on. The group has been meeting every possible Sunday since March 2008. Writing, shooting and some rough cuts of the videos were finished by June 2008. <br /><br />\n\nAs the name of the project suggests, water has several narrative flows, multiple scales and notes attached. The group has been shooting on their own, bringing their footage into a collective pool, writing over images in analytical, diarisitic or essay styles. What has emerged are a series of writings, short films and image-vignettes from four different slum areas, each one shot by one group and written over by another, collaboratively authored and edited.<br /><br />\n\nIn phase 2 (September-December) the project will undertake various modes of dissemination and distribution, screenings and discussions in Jogeshwari and elsewhere in the city. We are trying to set up a local archive in Jogeshwari to be used in their future social and political work in the area.&nbsp; Video itself becomes a material resource, available for argumentation, reference and viewing pleasure. <br /><br /><span style=\"color: orange;\">Ek Dozen Paani: 12 films on water</span><br /><br />1<span style=\"color: blue;\">. Zindagi (life)</span><br />Written by Ismail Sharif.<br />Camera: Ismail Sharif and Wasif Ansari<br /><br />2. <span style=\"color: blue;\">Prashna&nbsp; (question)</span><br />Written by Supriya Polmuri<br />Camera: Nikhil Anand, Archana Mirkar and Govindi Gudilu<br /><br />3. <span style=\"color: blue;\">System.</span><br />Written by Nikhil Anand<br />Camere: Nikhil Anand<br /><br />4. <span style=\"color: blue;\">Charaview</span><br />Written by Archana Mirkar<br />Camera- Suraksha Amroskar and Rashmi Mirkar.<br /><br />5.<span style=\"color: blue;\"> 26 July.</span><br />Written by Pooja Sawant and Tapasvi Kaunka<br />Camera: Nikhil Anand<br /><br />6. <span style=\"color: blue;\">Y<span style=\"color: blue;\">a</span>ade (memories)</span><br />Written by Durga Gudilu<br />Camera:&nbsp; Durga Gudilu, Ismail Sharif and Wasif Ansari<br /><br />7. <span style=\"color: blue;\">Water Bawdee</span><br />Written by Durga Gudilu<br />Camera:&nbsp; Durga Gudilu, Ismail Sharif and Wasif Ansari<br /><br />8. <span style=\"color: blue;\">4:30 pm.</span><br />Written by Govindi Gudilu<br />Camera: Sarika Shiwarulu<br /><br />9.<span style=\"color: blue;\"> Vichaar (thought)</span><br />Written by Vasant Ambore<br />Camera: Archana Mirkar, Vasant Ambore, Sarita Polmuri<br /><br />10.<span style=\"color: blue;\"> Mithi Nadi (sweet river)</span><br />Written by Sarita Polmuri<br />Camera: Shaina Anand and Nikhil Anand<br /><br />11. <span style=\"color: blue;\">Pyasa Premnagar (thirsty Lovetown)</span><br />Written by Shaali Shaikh<br />Camera: Wasim Ansari and Ismail Sharif<br /><br />12. <span style=\"color: blue;\">Rishta (relationship)</span><br />Written by Ismail Sharif<br />Camera: Wasim Ansari and Ismail Sharif.<br /><br />Produced by CAMP, Agaaz, Akanksha and NIkhil Anand.<br />Thanks to Point of View and Bishakha Dutta and Pad.ma members.<br />Series editor: Shaina Anand, Ashok Sukumaran. <br />",
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"title": "Two: Micro Radio",
"header": "Marche N'Gellaw - I 103 FM. Ak DJ Amala and the shops around Bisuiterie rue 18.",
"body": "We moved 2 kognes up to Bisuiterie rue 18. With 7-8 electronic shops selling transistor radios and copying tapes, it seemed right for a micro radio event. The antenna went up on the first floor balcony of the 'Centre pour le suive scholaires apres l'ecole', an after-school 'school'. Recharge was provided by Diop et Freres, who also had a tuner (radio) connected to large speakers. About 15 radios in the lane tuned in to marche N'Gellaw-1 103.FM hosted by DJ Amala. From the battery-powered radio station at the street corner, Amala wielded a 100 mtr XLR cable from shop to shop indulging in conversation about neighbours, livelihoods, occupations, wishes and music requests.<br /><br />\n\nA couple of hours into the 'show' (a car battery can power this kind of FM transmission all night if need be!) we were greeted by a special guest, Amadou Kane (namaste, mein Mohammed Khan!), who runs a TV show called <i>Allo Bombay</i>. Allo Bombay and DJ Amala engage in a impromptu \"interview\" in the middle of the street intersection, broadcast upto about 50 metres away. Allo Bombay and DJ Amala engage in a impromptu \"interview\" in the middle of the street intersection, broadcast upto about 50 metres away. We had met Amadou Kane earlier in the week, he had floored us with his perfect hindi, when asked how he had learnt to speak so fluently, he had replied, <i>\"Jab aadmi bachpan se kuch seekhta hai, to sahi tereh se seekta hai, Main bachpan se bollywood dekta aa raha hoon\"</i> <br /> <br />With no shared colonial past, having never been to India, his and others' Hindi was a revelation of sorts. In our first week in Dakar, we had been accosted by people on the street who would enquire if I was 'hindou'(meaning Indian). On nodding they would break into dance or exclaim, Ah, beautiful, We remember Mangala! Mangala, it turned out was the name of the actress Nimmi in <i>Aan</i> (1952, the first Hindi film to have a worldwide release) a film that had run for months in Senegal, which in the time of Senegals first president Leopold Senghor (author of negritude), and president from 1960 to 1980 saw a steady distribution and import of Hindi cinema. 20 percent of spending went to culture we were told, Dakar had dozens of cinema's. Now, close to two decades since structural adjustments, empty shells of grandeur and desire dot the neighbourhood...al Mansoor, Rahman...the one on jet d'eau had become a church of some preaching cult...the only cinema that bore semblance of activity was liberte, which was screening Dil to Pagal Hai(on DVD) and a dated Hollywood action flick.(Kane aka Allo Bombay later told us that he supplied liberte with his collection of Hindi movies on DVD) <br /><br />\n\n",
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"title": "Three: Street Performance",
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"body": "We moved further up the Kogne, and changed the position of the antenna so that the tiny lanes (which sold radios) could catch the signal. Ramata, a feisty lady and her troupe from Pikene (a suburb of Dakar, home to Bollywood fans) was going to perform. She began her performance from a window on a ground floor house. A voice encouraging equality for women, sharing of electricity, and the joys of battery power greeted those tuned into 103.fm. (on translating some footage later, Batje, one of our crew members told us that she was projecting the battery as a new way of sharing electricity, which the Indians were promoting! Not entirely surprising, Arcelor-Mittal was already mining iron-ore in Senegal, TATA buses were plying on their new roads and later that week we met the proprietor of the sole Indian restaurant who among other trades and deals like importing Bajaj bikes was looking to import Su-Kam inverters from India as Senegal with its electricity shortage seemed a likely market.<br><br>Ramata, began walking down the lane, singing a song, her voice resounded in different pockets and corners of the lane. Soon she appeared in the clearing on the main road, in a dazzling violet sequined sari! Her cohort jumped out and did a comedy skit after which to everyones surprise Ramata's daughter came dancing out of a shop in a violet organza salwaar-kameez and veil and performed a duet with Ramata to a song from <i>Nagin</i>. Through the evening they regaled the neighbours with comedy skits including a 'sharabi' act in Hindi with due credit to Bollywood, a break dance competition for the kids....at close to 9, the battery began to beep and the performance slowly wound down to an end. ",
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"title": "Four: Cinema Wolof-II",
"header": "Cinema Wolof: The little girl who stole the sun, Mambety's last film from his unfinished trilogy, 'tales of the little people.'",
"body": "\nIf Sembene was considered the father of african cinema, then Mambety, would be the cult guru (some have even called him the 'Dionysius' of African Cinema.) Baba Diop, well-known African film critic and friend of Mambety's (currently working on his biography) introduced the screening of <i>Le Petit Venduese du Soleil</i>, a gem from Mambety's short film repertoire. This was Mambetys last film, (he died while editing it) and was part 2 of what was to be a trilogy called tales of the little people. <br /><br />\nUsman, a vendor in the market with a powerful 'ghetto blaster' with a FM tuner and meat skewer antenna provided his bit of 'charge' by loaning it to us. Sound was distributed as always over 103.FM. <br /><br />\n\nBaba Diop greeted the audience and said: Mambety believed that cinema was in everyone's eyes, all we had to do was close them, think, rub our eyes and then open them and they would be able to \"see\" cinema...The kids chanted after him... 'rub, rub, rub and open your eyes...' <br /><br />\n\nAfter the film, Diop and Modibo D'iaware conversed with the children, some felt guilty at watching Sili being laughed at by the other boys for being crippled, others said that happens all the time and they admired her courage and heart.<br /><br />\n\nAs promised, we were to screen some Bollywood songs, as part introduction to where \"we come from\". <i> Bambai nagariya, Khaike pan Benaras,</i> and <i>Main hoon Don</i> had been shown prior to Mambetys 'soleil' with a promise of a hindi film, for the next soiree. Much of this (Bollywood from the 70s and 80s) is very familiar to the audience. \n\n",
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"title": "Five: Cinema Hindou",
"header": "Cinema Hindou- Anhoni Ko Honi kar De (Hindi Cinema: make the unreal, real) ",
"body": "The market's demand for Bollywood (actually old hindi cinema) was really persistent. On the morning of Soiree 4, when we were out on our charging rounds people had not seemed exactly overjoyed at our announcement of a Wolof film, you had promised an Indian film they said. We had to agree, but where would we get films on such short notice? 'Around the kogne', we were told and we were led back to the shop of the father of Diop et freres (who repaired electronics). Out of a drawer came out over 50 films, in the all too familiar polythene bags...we bought <i>Pukar, Don, Hare Rama Hare Krishna, Fakeera</i> (1976) which seemed to be another well-watched and remembered film. It had been hard chosing the film for the evening, it was a toss-up between <i>Fakeera</i> and another very popular film. Even though they both had French subtitles, the majority of the public would not be reading them. Too often we had been told, 'well show them anything, they can consume it all', and we had been offended by this attitude among the Senegalese (and of course French)cultural elites. <br /><br />\n\nDetermined not to let it disintegrate into just a spectacle we began by deconstructing and describing the film scene by scene. I would comment in English and Amala would translate into Wolof. By the time the title sequence of <i>Amar Akbar Anthony</i> hit the screens (some 20 minutes into the film), the story had gotten too convoluted and too unbelievable to explain, any attempts at articulation would be reductive. Hindi cinema is an immersive spectacle whose narrative language transcends logic and belief. <i>Amar Akbar Anthony</i> is a film that had run for weeks in Dakar, its title song still being sung by anyone old enough to recollect. A trip down the years for many in the audience, who remembered nostalgically their weekend escapes into Hindi cinema.<br /><br /> \n\nThis time we had tied the screen across the road. A 2-way screen with a 2-way audience. Diop et Freres's speaker/tuner system provided ample sound from across the road and his father's shop covered the spread inside the lane and also doubled up as a viewing gallery.Several smaller radios dotted the floor. Of course, in lieu of the epic length, we had to charge two batteries! We still ran out of juice mid-way through the 2nd half and drew the charge from the shop of Amadou Diallo next door. \n\n",
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"shortname": "Sept6",
"title": "Six: After School",
"header": "A study break and a peek into the going-ons in the neighbouring kognes during English class.",
"body": "For two of our events we had perched the antenna on the first floor of the corner house on Rue Biscuiterie 16, which actually houses the 'Centre pour le suive scholaires apres l'ecole.' The professor who runs this afterschool 'school' had been very interested in the goings on outside. The students had also watched us set up the antenna, hang the screen out of the windows in the midst of their classes. We wanted to spend an evening with them, explain what we had been doing. The professor was keen that we tell them about India and the work we do there. We gave them short presentations during the English class for the 9th standard students, and hooked up the radio transmitter for some demonstrations. <br /><br />\r\n\r\nWe also showed a small film of the previous five days of activity, negotiations with the market, and so on. This was followed by an animated question and answer session, which rounded up this wonderful \"evening\".",
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"title": "Seven: Sept Soirees",
"header": "Sept soirees au marche N'Gellaw-I",
"body": "Screening indoors for the first time. \nA one hour video documenting the project along with live commentary from DJ Amala and questions and answers ended the week of battery-operated soirees. <br /><br />\n40+ DVD's of some of the screenings and discussions were distributed in the market. ",
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"shortname": "pad.ma",
"title": "Pad.ma",
"header": "is an ongoing public-access media archival project, centered around video as a medium of documentation, collection, argumentation and exchange. Its objective is to consolidate, densely annotate, and make available online several scattered collections of video material, to begin with in Mumbai and Bangalore. PADMA is a collaboration between oil21.org, CAMP, Majlis, Point of View, the Alternative Law Forum, and other future contributors.",
"body": "<a href='http://pad.ma' title='public access digital media archive'>http://pad.ma</a>",
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"title": "From the Category Video Art: Part II",
"header": "<font size=\"2\"><span style=\"\" arial;\\=\"\" class=\"\\&quot;blackness\\&quot;\"><span style=\"\" orange;\\=\"\">On the excess of images, and of access to images. <br /><br /></span>\nIn this screening and discussion we look at several artist's works (including our own) based on security imaging or CCTV. This gives us a few new ways to think about contemporary images, and the \"democracy\" of image-making, in particular. It also suggests that the term \"found footage\" may not be sufficient, may even be misleading, for describing such work.\n</span><br style=\"\" arial;\\=\"\" /><br style=\"\" arial;\\=\"\" /><span style=\"\" arial;\\=\"\">\n\nSaturday, July 26, 2008 </span></font><br />",
"body": "(The screening schedule can be found by clicking on the tab above.) <br /><br />\n\nIf there are (by a rough count) some 3000 \"security\" cameras in the Bombay suburb of Bandra West where we live, what could this mean for practices of image-making? <br /><br />\nIn one way, it means nothing: these are images born into another world of the image, in which they then circulate, alone. They do not mix easily with other images, they are generally short-lived (the cheapest and most common CCTV systems don't record anything, and in the ones that do, images are being constantly overwritten, often by law). These image collections are then a continuously looping \"backup\": a bit like if we were recording TV all the time, in the hope that we will find something interesting in it, next week. Once in a while, a few images will indeed be pulled out as \"evidence\", or a video clip will leak out onto television or youtube. But these moments are brief, and their role is familiar. What is much stranger is that we live continuously in a Ghost City of images. This cloud taps us gently on the shoulder as we move about, but its own full reality or depth is something we are unable to grasp. <br /><br />\n\nThe (eco)system of video as a security \"medium\" creates, and actually is founded upon, a vast material excess. This surplus is not only in the sense that these images exceed language, commodity and so on, but also that in a very physical way, these are a lot of images. Yet their ghostly mass appears to lie beyond simple notions of the extraction of utility or value from it. (For example it often acts outside of itself, as a \"deterrent\", or as a body-in-waiting for an event that never actually happens.) We could say that this hidden material possesses \"abuse-value\" - a taking without giving, a one-way utility that precedes other forms of value. [1]\n<br /><br />\n\nNow, a glut in the images folder is not unfamiliar to contemporary image-makers. Filmmakers and photographers working \"digitally\" are quite aware that ours is a materially excessive practice, even compared to a few years ago. There is a growing \"digital divide\" between the shots that have been \"taken\", and those that may eventually resurface as films, exhibitions, online or in any other form. We are realising also that this abundance is not \"free\", there is a lot of cameras, tapes, hard-drives, storage space and time being spent on it. But this will not slow us down. So what are the real and psychic dimensions of this excessiveness? What is happening as we gather things we cannot possibly use? Put differently, what is happening as we collectively wait, for the on-camera event that will justify the expense, and sate our current curiosities? On the one hand this is a space of potential, the reverse side of production. But it is also the dark side of the \"democratisation\" of video, and \"access\" to its tools, claimed in so many places since the 90's. The waiting game is most effectively seen in Indian television today: in all those cameras ready to pounce upon the shadow of an event, and the ultimate in money-shot camera-tricks, the sting operation. The use of such imaging is justified always by good intentions, and \"greater concerns\" of the \"public\". But this is the language of the police, and so the search for even better justifications, even nobler intentions in the realm of professional imaging, is perhaps the wrong one. <br /><br />\n\nIf we can temporarily suspend the good intentions and diverse subject positions of various agents \"making films\", producing image-narratives and so on, we have some more options: we could propose for example that video is a substance, a bit like electricity or water, or like refrigeration or LPG, or like a fog or sewage, in the urban bloodstream. Now if water produces a number of chemical solutions and cleansing rites, if electricity leads to communism or to \"Shakti-Anantam\" (depending on if you follow Lenin or Modi), and if LPG is at the heart of food, the national oil policy, and cylinder-bombs... where exactly does such video lead us? Does it lead the way to \"understanding\", \"safety\", \"our voices\" or \"voyeurism\"? This is not a \"modernist\" deterministic question, it is a question for the democracy of images. Is it merely inevitable that everyone will watch everyone else? What happens next? How can we distinguish images used by the police from the ones offered in friendship? How do we recognise \"abuse-value\"? The only way perhaps is to go deeper into the conditions in which video is made, with or without human intention, with or without our consent. This is where security video may lead the way, because it has already entered into such material territory, and into various still-debated positions of the subject. Moreover, it may allow the time, more than any other form, to ponder all of these questions. Closer to the ground into which such video is embedded, we see \"secondary\" effects: what is being redistributed here is not only views or watching power, but a gradual realignment of abilities and senses... not all of which are well understood, or can be accounted for by the term \"surveillance\" or its counter-theories (exhibitionism, sousveillance, and so on).\n <br /><br />\n\nIn the case of the bandra shopkeepers for example, the CCTV system appears to be a form of inattentive TV-watching. But it is also psychically linked to older constructions of glass and mirrors; entire architectures by which corners would be turned, employees watched, goods doubled, glimpses stolen of the clouds and of the traffic outside... all the while carefully avoiding the traumatic geometry (for the shopkeeper) of having to look at oneself in a mirror all day. Interior designers know this... but who knows the genetic effects of a couple of generations of mirror watching, or being watched? In what ways do these images now enter the mindscape of professional waiting, what spaces of reflection are now opened up, what dreams or nightmares could follow? <br /><br />\n\nAt the other end of the stick, as it were, in the control rooms of large CCTV systems there are other lineages, other openings. Working-class operators train to be \"cameramen\", learn framing and following techniques, turn into habit the legally-defined limits of zooming in and zooming out. They watch people and neighborhoods that become increasingly familiar, at a distance. Over time, this becomes mechanical and lonely, but this is also a loneliness continuously expecting, seeking, the Big Event: a breakdown in the social world one has \"left\" outside, an overflow of the simultaneous enjoyments of voyeurism and duty.\n<br /><br />\n\nIn such infrastructures then, just as when other technologies become settled or pervasive, the ability to act and to produce meaning (what is called \"agency\"), has shifted from the old places, has become intertwined with changing technology and context, has changed size or shape. Where has it gone to? What does it look like? The videos presented here attempt to answer these questions, through the work of artists who have engaged with this \"medium\" for some time.\n<br /><br />\nThese are artists going hard at images, a quite different idea from the artist as a person \"taking the picture\", \"making the picture\", or even \"assembling\" a picture. This work attempts to simultaneously challenge and produce the conditions in which such a picture can be \"taken\" (ingested, assimilated, revealed). It is here a question of disrupting the order of images, in order to produce one's own.\n<br /><br />\n\n\u00e2\u20ac\u0153Found footage\u00e2\u20ac\u009d can now be seen as a somewhat quaint term. It is obvious that such footage is not \"found\", as if somehow lying on the road, but is actively sought out, negotiated, stolen, bought, and so on. If the term \"found footage\" came from art history's found-objects, or objet-trouve, it appears today that footage-objects are part of a much more protected domain of material life, in which they must be extracted from regimes of the not-for-your-eyes, borrowed from the \"belongings\" of someone else, and then purified, sexualized, exposed, re-buried, suspended, replayed or dispersed anew.\n\n<br /><br />\n\nFor us (CAMP) this approach is related to ongoing work around technical infrastructures. The work with video is an attempt to open up a space, in our context, outside of documentary films, television or popular cinema as the default triumvirate of sites for both the production and understanding of images, as \"father figures\" for all other moving-images. The point is not so much that CCTV video will enter into the art world (as it has) or that there will be Bollywood films shot with it (there are, and there will be more), but that strategic traversals of these fields can create an energy, a politics. It may be eventually that the non-overlap, or lack of commonality, of security images with more traditional ones is what needs to be sustained, to render \"inoperable\" (in Jean-Luc Nancy's sense of a community based on unharmony) our growing community of images.\n<br /><br />\nThe ongoing series around Video Art is similarly an attempt to tease apart these two words, to expand the category they enclose, to populate the boundaries of what a video art can be. \n<br /><br />\n(p.s. the artists here don't necessarily share our views on the above. As before, the majority of these works are found online, there is one exception.)<br /><br />\n\nNotes:<br />\n\n(1) Abuse-value has been used in atleast two different contexts: by Michel Serres in writing about \"parasitic\" abuse value, as an \"arrow with only one direction\", a taking without giving back. This can also have its positive, or fortunate side. And by Arthur Kroker and Michael Weinstein more negatively as the \"last\" value that may be extracted from the weak and oppressed. Here it is used more in Serres' sense. <br />",
"schedule": "<b>I Thought I was Seeing Convicts </b> <br />\nHarun Farocki (2000)<br />\n25 mins <br />\n\nThe film borrows its title from a dialogue in a Rossellini film, Europa 51, where Irene (Ingrid Bergman) a wealthy lady, goes to work in a factory for a day to find it like a prison. Here, as you watch prisoners meet their loved ones, or get set up in a 'playground' for a fight, the surveillance visuals become images that allow for a perverse humanisation of the prisoners, just as you are reminded that in this space the field of vision and the field of fire literally coincide.\n<br /><br />\n\n<b>The Great Indian School Show </b> <br />\nAvinash Deshpande (2005)<br />\nExcerpt: 20 mins. <br />\nExcerpts from Deshpande's film, which not only allegorises control as a requisite for new nation building, replacing the state with private law and discipline, but also because it shows us one logical extreme of the 'democratic' access to technology. This is the story of Mahatma Gandhi High School in Nagpur, which had installed 185 security cameras, with the principal's chamber as the control room. <br /><br />\n\n<b>Scenes from the Neighbourhood</b>: Neelam, Royal, China Gate, et tu Janta? <br />\nCAMP (2008)<br />\n5 mins. <br />\nGlimpses of CAMP work with security video in new \"settings\" in our neighbourhood. <br /><br />\n\n<b>Khirkeeyaan </b> <br />\nShaina Anand (2006) <br />\nExcerpt 10 mins. <br />\nKhirkeeyaan achieves a radical inversion of CCTV's apparatus: cameras and mikes are cross-linked through a standard CCTV box, to create a conversational space using household TV's. A number of different installations or \"episodes\" in Khirkee village, Delhi were staged, ranging from an onscreen meeting of Nepali household help and the landed elite's \"bahuraniyan\", to a doctor giving dubious advice, to barber shops and political debate, to four basement factories and their workers being exposed to each other. \n\n<br /><br />\n<b>CCTV Social:</b>Clinic and Regeneration. <br />\nShaina Anand (2008) <br />\nexcerpts 15 mins <br />\nIn March 2008, Shaina Anand's project opened CCTV control rooms in Manchester to members of the general public, who signed up for one hour \"therapy\" sessions. About 40 people spent an hour each in control rooms where Manchester's Open Street Surveillance was in action. In the Arndale, one of Europe's largest malls and the site of the 1996 IRA bombing that \"saved Manchester\" (by kick-starting its regeneration program) about a hundred people signed image-realease forms, to allow their images from the 206 cameras in the mall to be used, for a film that is under production. \n\n<br /><br />\n<b>Faceless</b>: Spectral Children <br />\nManu Luksch (2006)<br />\n15 mins. <br />\nFACELESS was produced under the rules of the 'Manifesto for CCTV Filmmakers'. The manifesto states, amongst other things, that additional cameras are not permitted at filming locations, as omnipresent video surveillance is already in operation. Filmmaker Manu Luksch exploited a clause in the UK Data protection act that allowed an individual access to their own footage from the Operating agency, for a processing fee of \u00c2\u00a310. The Privacy law demanded that all other indentifiable people in the visuals had to be blacked out or blurred. After copious exchanges over several years, Luksch had \"recovered\" enough footage of herself and other actors to create Faceless, a sci-fi fairy tale about a world where everyone lives in real-time, without memories...Spectral Children is a shorter installation version. \n<br /><br />\n<b>Video Sniffing.</b><br />\nMediashed (2007) <br />\nExcerpt 5 mins. <br />\nCapturing the images of of a CCTV system from outside it, and some performances around this practice. \n<br /><br />\n<b>Evidence Locker: Trust </b><br />\nJill Magid (2005) <br />\n15 mins.<br />\n\nInstead of portraying the civilian as hapless victim of state surveillance, Magid's works attempt reversals by drawing the observers/police into personal relationships, flirtations, unexpected intimacies. In Evidence Locker, she successfully tweaks the function of Liverpool's city-wide surveillance system (the largest of its kind in England) by having the operators follow her around as she got to know them. For access to this footage, Magid had to submit 31 Subject Access Request Forms, which she wrote as though they were letters to a lover, expressing how she was feeling and what she was thinking. In the video Trust, Magid on the phone, eyes tightly closed, asks the CCTV operator to guide her through a busy city street.\n\n<br /><br />\n\n<b>Nightwatch</b><br />\nFrancis Alys (2004)<br />\n15 mins. <br />\n\nOne night in 2004, Alys set loose a fox inside the National Portrait Gallery in London, and filmed the results using the gallery's security system. \n <br /><br />\n\n",
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"header": "CAMP was launched on November 4, 2007, in an event consisting of screenings and presentations by the 3 initiators. The event was more than 4 hours long, and tested the normally impatient Bombay audience. There were many people still left in the end, which was a good sign. \nThanks to Nancy A. and Ranjit H. for moderating, and to Jnanapravaha for hosting the event.\nCAMP's <a href=\"http://camputer.org\" title=\"camp home\">website</a>. ",
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"header": "Sanjayb went to the <a href='http://transmission.cc/txap'>Tx-AsiaPacific</a> event in jakarta, organized by <a href='http://engagemedia.org' title='Engage Media from Australia'>EngageMedia</a> and <a href='http://ruangrupa.org' title='Ruangrupa from Indonesia!'>Ruangrupa</a> where he, along with Namita from <a href='http://altlawforum.org' title='Alternative Law Forum, Bangalore'>alf</a> presented the pad.ma archiving project, and related work at CAMP. Detailed report coming soon.",
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"header": "In March 2008 Shaina Anand collaborated with Manchester Metropolitan University and Arndale Shopping Centre to open working CCTV environments to a general audience. People normally 'enclosed' by these networks came into the control rooms to view, observe and monitor this condition, endemic in the UK. ",
"body": "Manchester's Open Street Surveillance, with its Pan-Tilt-Zoom cameras (covering a 3km radius) and systems wired into the surrounding architecture over a decade ago were subject to demonstrations, scrutiny and inquiry by 36 participants. These sessions became somewhat like a diagnostic clinic, where symptoms, anxieties and inoculations about 'public health', under surveillance were mediated upon. The therapy sessions seemed to work both ways, for the participants as well as the security officers. <br /><br />\n\nIf the analog control room of MMU's Open Street Surveillance seemed 'just like 1984', the CCTV control room of the Arndale Centre bore cold testimony to the much heard myth, 'the IRA bomb saved Manchester'. The mall was the site of the largest IRA bomb in the UK, (1996) and its rebuilding (to create the largest Mall in UK) was the start of Manchester's regeneration program. <br />By having over 100 members of the public sign 'image-release' forms, the crew manipulated the UK Data Protection Act to have 'public' access the surveillance feed from the malls 206 cameras.<br /><br />\n\n<i>Visit links on the right for still and moving images and text about the sessions. </i> <br />\nAnnotations and Downloads at <a href=\"http://pad.ma\">PAD.MA</a>\n\n<br /><br /> \nA series of videos were exhibited at Cornerhouse, Manchester in April-May 2008 for the Asian Trienale Manchester 08, in an exhibition titled, What do you want?, curated by Kathy Rae Huffman.<br /> \n\nCommissioned by Cornerhouse and Cornerhouse Education Livewire Program.<br />Capital Circus commissioned by Henie Onstad Kunstsenter, Norway for Reality Effects. <br /><br /> \n\n\nwith\nChris Clarke, Ashok Sukumaran, Marisa Draper. <br /> \n\nSpecial thanks to: \nKathy Rae Huffman, Sarah Perks, Tereza Kotyk at Cornerhouse. <br /> \n\nGeorgina Amica-Carpenter, Max Igbon and Jon Ratcliffe from Livewire Youth Program and Dean Brocklehurst, Hannah Mosley, Dale Copley. <br /> \n\nJai Redman from Ultimate Holding Company.<br /> \n\nMMU Security: \nJoe and Steve.\nIan, Bernadette, Mike, Alf, Stewart. <br /> \n\nArndale Security: \nGayle, Colin and Paul. <br /><br /> \n\nParticipants: \nJodie Sadler, Marisa Draper, Dean Brocklehurst, Rob Dunne, Alasdair Swenson, Sarah Jamison, Gwen Osmond, Roisin Weintraub and Daniel Johnson, Rachel Ashcroft, Matthew Holland, Lowri Evans, Amy Pennington, Hannah Swan, James Tennet, Kate Taylor, Helen Taylor, Alex Donohue, Adam Moxley, Amy Glendinning, Julie Spellman, Dale Copley, Phil King, Isabel Croissant, Anna Churcher Clarke, Elisabeth Bromley, Jonathan Watts, Harriet Mitchell, Dan Williamson, Joe Richarson, Jai Redman. \n\n\n\n \n<div><br /></div>\n\n<br />\n\n<iframe width=\"640\" height=\"640\" src=\"https://pad.ma/ABU/player/00:00:58.920,00:30:00.030#?embed=true&showAnnotations=true\" frameborder=\"0\" webkitAllowFullScreen mozallowfullscreen allowFullScreen></iframe>\n\n<br />\n",
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"header": "Day Two was a colder day. Joe and Steve were blurry-eyed when we got to the 'clinic'; Steve had had been on the eleven-hour night shift and was continuing through the day as they were short-staffed. Friday, the day of our first session had been the last day of Uni. Today was Sunday and the streets were quiet. <br />\nThe 'warmth' of the Control room provided a space for diagnosis and self-examination. From Kate Taylor, a film curator from Liverpool interested in how artists and operators view CCTV to Phil, an employee of BAE systems and Julie who worked at Granada TV came a range of questions and reflections. Steve, feeling vulnerable and less on the defense offered us some clear insights about life 'on the beat' and about the processes of gentrification and regeneration he had witnessed in the city. <br /><br />\nView short excepts from Day Two below. ",
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"header": "The doors of the clinic opened at 11 am. \"Have a nice day\" by the Stereophonics was playing on the radio and in came Jodie Sadler, a young filmmaker who had traveled from London for the session.\"So how does all this work, talk me through it.\" <br />The day progressed with two-person on-the-hour sessons. <br />View short excerpts from Day One.<br /><br /> ",
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"header": "\nAround 4 in the evening, the sun came out for a bit. Stuart, (who we had earlier visited at 2am on Friday night to witness the night shift) takes me for a walk around the MMU area. He maps all 36 'open street' cameras. Steve in the control keeps close track on us, cameras overhead rotate and tilt down. I film them instinctively, like animals stalking prey they watch, dark-eyed. Keeping Steve company in the control room are Chris and Anna and Elizabeth, the 4 o'clock visitors. As Stuart and me end our camera count, they spy 2 of their friends cutting across the park. <br /><br />\n<br />\n",
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"header": "At 10 am on March 25, Chris Clarke led us to the back alley behind the Arndale Center. A series of buzzers, auto-lock doors and sign-ins later, and we were in the control room of the Arndale Mall. <br />",
"body": "\nI was the only one amongst us who was not local, who had never been into the mall; this the love-hate symbol of Manchester; once called the eye-sore of the city, now a historic monument with a troubled past. <br /><br />\nThe Control Room (built anew during the Arndales post-bombing re-generation) was vastly different from the analog control room at the MMU. \"206 cameras and more being added\", reported Colin. I assumed this included in-store surveillance as well since the Arndale has about 70 shops. But no, the 206 dome covered P-T-Z cameras policed the 'streets' of the indoor Mall, shop surveillance was handled by 'Store-Net', a company that handled security for 'chain stores'. <br /> <br />\nWe spent most of the morning with the staff, Paul led us to the back-room, the DataBank, Colin dismissed the big deal made about privacy, \"Take my DNA, if you like, If I've got nothing to fear, as so I have nothing to hide\". Their supervisor Gayle, gave the Livewire youth a virtual walk down the history of the mall, \"This used to be the bus-stop and the subway, now its the winter gardens and poor old Halle square used to be the posh area, now you can see how dark and dingy it is...\" ",
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"header": "Through both days, Max, Jon, Georgina, Marisa, Chris and I walked through the mall, aware that we were being followed. Playing around with UK's Data Protection act and the documentary filmmakers mandatory 'image release'(with a side-ways wink at 'participatory' art practice), we carried with us \"Image Release Forms' and encouraged people to sign on. The net result was that we had about a 100 release forms and were able to make a 'public' request for the Surveillance Videos. \n\n",
"body": "On day Two, Dan Williamson from Reactor web and Joe Richardson and Jai Redman from Ultimate Holding Company, an arts collective that had done some significant art work around Manchester's Regeneration, amongst other things. (Links to some of inspiring works are in the tab on the right. Respect) \n\nThey spent an illuminating hour in the control room with Gayle as their host, after which we walked through the mall deep in feedback. The conversation: with Jai and Joe from UHC pasted over some of the footage procured makes up the short video \"Regeneration\". \n\n",
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"header": "CCTV social premiered on April 3rd at Cornerhouse Manchester, as part of Asian Trienale Manchester 08, organised by Shisha. The show, titled what do you want, feautred five artists from India and was curated by Kathy Rae Huffman. <br /><br />\n\n<a href='http://www.cornerhouse.org/keyword.aspx?id=15700&f=Art' title='Shaina @ Cornerhouse'>Shaina @ Cornerhouse</a>\n",
"body": "The exhibition occupied the 2nd floor 'corner' of Cornerhouse. Two arms of the gallery converged to form corner windows that overlooked the mast of a large surveillance camera in the centre of the traffic island outside. 4 LCD monitors on the Right-side wall contained videos from MMU sessions, with MMU Campus walk playing on the inside wall. The Mall videos played on LCD monitors on the left and the Regeneration video sat as a floor projection.<br /><br />\n\n",
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"header": "In March-April 2008, ShainaA collaborated with a number of agencies in Manchester city to open up <a href=\"http://camputer.org/event.php?id=24\"> CCTV control rooms</a> to members of the public. \nThe Manchester Metropolitan University and the Arndale Mall were the principal venues, and over 30 members of the public were able to attend one-hour 'clinics' in the CCTV rooms. Some results were shown as part of the exhibition 'What do you want?' at <a href=\"http://www.cornerhouse.org/events/info.aspx?ID=1270&page=0\"> Cornerhouse,<a/> Manchester from March-April 2008. ",
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"header": "<a href= \"http://www.gasworks.org.uk/exhibitions/detail.php?id=344\">Disclosures <a/> was a 2-day event organised by Gasworks, London, attempting the reevaluation of \"digital\" influences in the domain of art practice, including the after-effects of open source culture, media forms, and so on. \nShaina and Ashok presented on Day 2, under the thematic \"Blue Skies, Grey Skies\". \n ",
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"title": "CAMP hosts June LUG meet",
"header": "CAMP hosted this month's Mumbai Linux Users group meet. Presentations included various accounts of conversions (in the corporate and NGO sector) to FOSS. KrishnakantM demonstrated some firefox extensions for the visually impaired. \n",
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"header": "CAMP has moved to a new \"quarter\" near Khar Danda. Its not so easy to find, so go to http://camputer.org/campstudio.html for directions.&nbsp;",
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"header": "Tejas Pande from Srishti / Bangalore / Aurangabad has been working with us over the past month or so. Tejas has a 'transport fetish' (an unreasonable interest in public transportation systems, maps, routes, timetables) but is also interested in many other things, such as newspaper fonts, the visual language of education, Marathi middle-class culture, and <a href=\"http://camputer.org/event.php?id=41\">Gandhi </a>. He also designed a set of 'visiting cards' for CAMP. ",
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"title": "The Neighbour",
"header": "AshokS was a plenary speaker at the 2nd Metropolis Biennial in Copenhagen, Denmark. His talk, titled \"the Neighbour\", was about the neighbour that persists beyond the categories of friend and enemy, and thus escapes the fantasy of infinite connectivity, as well as its other, total privacy. ",
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"title": "The Rest of Now.",
"header": "AshokS's unrealised project: \"the Last Message from Toblino\" features in the Manifesta7 companion book, The Rest of Now, edited by Rana Dasgupta. ",
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"header": "A long <a href=\"http://chitra.recurrencies.com/uploads/ShainaAnandMediaDemocracy.pdf\">interview </a> with ShainaA features in this compilation of essays and interviews edited by Megan Boler. <a href=\"http://mitpress.mit.edu/catalog/item/default.asp?ttype=2&tid=11464\"><i>Tactics in Hard Times: Digital Media and Democracy.</i></a> The MIT Press, May 2008.",
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"header": " ShainaA's Khirkeeyaan (2006) in <a href=\"http://www.avfestival.co.uk/programme/events/broadcast_yourself\">Broadcast Yourself.<a/> An exhibition co-curated by Kathy Rae Huffman and Sarah Cook that looks at artists interventions into television and strategies for self-broadcasting from the 1960s to today. ",
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"header": "CCTV works return to Manchester. ShainaA's Khirkeeyaan (2006) as part of <a href= \"http://broadcastyourself.net\">Broadcast Yourself<a/> currently on tour at The Cornerhouse. ",
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"header": "A Parallax View of 40 Years of German Video Art. <br /><br />Over two days, ten artists, critics and enthusiasts present a \"recuration\" of the 40 Years of German Video Art, a collection being circulated by the Goethe Institut.&nbsp; These respondents bring to the archive their own urgencies and preoccupations, and suggest that this \"package\" is not a sealed entity, and can be re-read as a history of encounter and entanglement between disciplines, geographies, schools of thought, agents and artforms. <br /><br />\n\nThe 2-day screening program will be held 14th-15th November, 2008. <br />at <a href=\"http://camputer.org/images/jnanaMap.jpg\">Jnanapravaha</a>, and (on the same floor, opposite door) Gallery Chemould. <br /><br />Brought to you in collaboration with the Goethe Institut Mumbai, Jnanapravaha, and Gallery Chemould. <br />\n\n\n",
"body": "<br />The 40 Years of German Video Art (<a href=\"http://www.40jahrevideokunst.de\">http://www.40jahrevideokunst.de</a>) is a project initiated by The German Cultural Foundation in 2004 to digitize, restore and archive a \"cultural heritage\" that was seen to be slipping away, as video in older formats degenerated. After exhibitions in Bremen, Westfalen, Munich, Leipzig and Karlsruhe, this collection is now travelling internationally with the Goethe-Institut. A package in this form this suggests a certain stability in the category \"German video art\". At the same time its circulation opens up the material, and its context of production and thought; its \"Germany\", to review by diverse and sometimes unsolicited sources. It is our good fortune to be able to promote such activity.<span style=\"font-style: italic;\"> Sehen hei\u00c3\u0178t \u00c3\u00a4ndern,</span> to see is to change. \n\n<br />\n<br /><img src=\"images/wilson1.jpg\" alt=\"\" /><font size=\"1\"><br />\nStill from Video 50, Robert Wilson, 1978.\n<br /><br /><br /><br /><br /></font>",
"schedule": "<span style=\"color: black; font-weight: bold;\">Presentations and Screenings: </span><br /><br style=\"font-weight: bold;\" /><span style=\"font-weight: bold;\">DAY 1. (6pm. Jnanapravaha) <br /><br style=\"font-weight: bold;\" />INTRODUCTION: By Nancy Adajania. </span><br style=\"font-weight: bold;\" /><br />1. <span style=\"font-weight: bold;\"><span style=\"color: black;\">Ranjit Hoskote</span> </span>will read against the grain of the account of video art in Germany proposed by this collection, to produce a more amplified sense of the German imagination on both sides of the wall. He notes the telling absence of a vibrant East German underground, including Super8 films. He also explores the problems of reading, especially when seemingly universal resources such as language, image and symbolism carry sharply differing valencies depending on the political contexts in which they are deployed.<br /><br /><span style=\"color: black;\">1986 | As if Memories Could Deceive Me | Marcel Odenbach |17:35 </span><br style=\"color: black;\" /><span style=\"color: black;\">1989 | K\u00c3\u00b6rper im K\u00c3\u00b6rper | J\u00c3\u00b6rg Herold | 11:40 </span><br style=\"color: black;\" /><span style=\"color: black;\">1983 | Geld | Malaria&nbsp; | 4:00 </span><br /><br /><br /><span style=\"color: black;\"></span> \n<div>2. <span style=\"font-weight: bold; color: black;\">Mriganka Madhukaillya</span><span style=\"color: black;\"> </span>would like to investigate the construction of history through\nthe use of narrative devices derived from cinema.&nbsp;Reflecting on the\nmedium of video via recording and transportation\ndevices (the camera / the train) allows us a way into German history as well as towards a broader understanding of migration/mobilty,\nmemory and narration. This approach looks at video technology as a time-based medium\nrevealing mnemonic and&nbsp; micro-political processes, in its archives. <br /><br /><span style=\"color: black;\"></span><span style=\"color: black;\">1992|Transfer|Angela Melitopolous| 12: 23 </span><br style=\"color: black;\" /></div><span style=\"color: black;\">2002 | Tehran 1380 | Solmaz Shahbazi, </span><span style=\"color: black;\" class=\"nfakPe\">Tirdad</span><span style=\"color: black;\"> Zolghadr| 45:00</span><br style=\"color: black;\" /><span style=\"color: black;\">2004 | Kurlichtspiele (Reminiszenz, 12. Dezember 1953) | Volker Eichelmann| 06:00</span><br /><br />3.<span style=\"font-weight: bold;\"> <span style=\"color: black;\">Kaushik Bhaumik</span></span> explores the history of gender in the last forty years through its relationship with video, and posits that video art has reflected the breakdown of bounded notions of gender into a set of randomly distributed sense attributes across bodies that belie any stable gendered perceptions. <br /><br /><span style=\"color: black;\">1969 | Land Art | Gerry Schum (short version)| Excerpts 10 mins </span><br style=\"color: black;\" /><span style=\"color: black;\">\n\n1974 | Tanz f\u00c3\u00bcr eine Frau | Ulrike Rosenbach| 8 mins</span><br style=\"color: black;\" /><span style=\"color: black;\">1988 | Der Herzschlag des Anubis | Bettina Gruber, Maria Vedder| 5mins</span><br style=\"color: black;\" /><span style=\"color: black;\">2000 | Buffalo Billy + Milly | Rosemarie Trockel| 5: 45</span><br />\n\n<br /><br /><span style=\"font-weight: bold;\">DAY 2: (11 am, Gallery Chemould)</span><br style=\"font-weight: bold;\" /><br />4.<span style=\"color: black;\"> </span><span style=\"font-weight: bold; color: black;\">Nancy Adajania </span>points to the work of Rebecca Horn and Valie Export to speak of the militarization of the body, and the performative insertion of the politicised female body in public space, with Vienna Actionism and the emergent women's movements of the 1960s as twin matrices. She also reflects on Wolf Vostell's deployment of techniques of 'de/collage' in the early 1960s in relation to television, undermining its rhetoric of communicative transparency and diluting its claim to truth-telling authority. She will contextualise Vostell as a Fluxus pioneer and demonstrate his concerns with abstraction, temporality and counter-cultural critique.<br /><br /><span style=\"color: black;\">1975 | Berlin, \u00c3\u0153bungen in neun St\u00c3\u00bccken | Rebecca Horn| 40:00</span><br style=\"color: black;\" /><span style=\"color: black;\">\n\n1974 | Raumsehen und Raumh\u00c3\u00b6ren | Valie Export| 05:00</span><br style=\"color: black;\" /><span style=\"color: black;\">1963 | Sun in your head | Wolf Vostell| 05:00 mins</span><br /><br />Pre-Lunch Screening: <br /><span style=\"color: black;\">1978 | Video 50 | Robert Wilson| 52:00</span><br /><br /><span style=\"font-weight: bold;\">LUNCH</span><br /><br />5. <span style=\"font-weight: bold;\"><span style=\"color: black;\">Kabir Mohanty</span> </span>feels that the tremendously evolved film sensibility that we see in India both in terms of viewership and practice is narrowing, getting atrophied, and its renewal is a challenge to again both practitioners and viewers, and so this 40-year history is important to reconsider. He screens a selection of films, including a work by Gary Hill, and one of his own works. <br /><br /><span style=\"color: black;\">2004 | The nuclear Football | Korpys / L\u00c3\u00b6ffler| 30:41 </span><br style=\"color: black;\" /><span style=\"color: black;\">1989 | Site/Recite | Gary Hill | 04:30 </span><br /><br />6. <span style=\"font-weight: bold; color: black;\">Devdutt Trivedi</span> traces the development of an aesthetic through video by analyzing its spaces, temporalities and emphases, also in contrast/ regard to film. Devdutt responds to Video 50 by screening another film, Hong Kong. <br /><br /><span style=\"color: black;\">1999| Hong Kong (HKG) | Gerhard Holthuis (Netherlands) | 13:00</span><br style=\"color: black;\" /><span style=\"color: black;\">1999 | Phoenix Tapes | Christoph Girardet, Matthias M\u00c3\u00bcller| Excerpts</span><br style=\"color: black;\" /><span style=\"color: black;\">\n1998 | Passage I | Heike Baranowsky| 3 mins</span><br style=\"color: black;\" /><br />7.<span style=\"font-weight: bold;\"> <span style=\"color: black;\">Rana Dasgupta</span> </span>offers a meditation on the \"flash\".&nbsp; Flashes of light or image occur with some frequency in avant garde film and video art.&nbsp; Does the flash have a history?&nbsp; Can we give meaning to the flash?&nbsp; From lightning to arc lights to nuclear explosions - a speculation.<br /><br /><span style=\"font-weight: bold;\">DAY 2: (6 pm. Jnanapravaha)</span><br /><br />8. <span style=\"font-weight: bold;\"><span style=\"color: black;\">Ashok Sukumaran</span> </span><span style=\"font-weight: bold;\"></span>traces\nthe development of media art in the specific context of the ZKM,\nin relation to the abandoned promise of the \"digital bauhaus\", and\nlinks to both industrial design and actionist performance, as conceptual supports. These early\nnegotiations with computers appear to have a certain sensible\npotential, where concepts such as \"touch\" and \"tool\" appear, briefly, as political entities.<br /><br />9.&nbsp; <span style=\"font-weight: bold; color: black;\">Shaina Anand</span><span style=\"color: black;\"> </span>diagonally cuts through an array of works that deal with both utopias and dystopias of&nbsp; audiences and spectatorship. There is irreverence and interruption, vision but also naivety, determinism but also darkness.&nbsp; Looking back, what can we remember of these questions? Where can we stand today, in contradictory times of capital driven scarcity of digital 'art works' and endless circulation of information and images. What could be a productive distribution?&nbsp; What can be a withdrawal or 'absence'? <br /><br />Excerpts: <br /><span style=\"color: black;\">1970 | Filz TV|Joseph Beuys. </span><br style=\"color: black;\" /><span style=\"color: black;\">\n\n1969 | TV as a Fireplace | Jan Dibbets.</span><br style=\"color: black;\" /><span style=\"color: black;\">1972 | Documenta der Leute | Telewissen.</span><br style=\"color: black;\" /><span style=\"color: black;\">1983 | Der Riese | Michael Klier.</span> <br />and others not in the package. <br /><br />10. <span style=\"font-weight: bold; color: black;\">Sebastian L\u00c3\u00bctgert </span>presents Produktionsbedingungen --Conditions of Production, based upon a reading of Bei mir zu Dir (tv - low dunkel), 2002, by Judith Hopf and Stephan Geene. Production, as in the production of video, but also production of space. Conditions, as those in Berlin, and the passage of a rather large number of people through an extended period of time - and then again, the period of a space.<br /><br /><span style=\"color: black;\">2002 | Bei mir zu Dir (tv - low dunkel) | Judith Hopf, Stephan Geene</span><br /><br />Good Night Screening: <br /><span style=\"color: black;\">1984 | Good Morning, Mr. Orwell | Nam June Paik| 57:52 </span><br /><br style=\"font-weight: bold;\" /><span style=\"color: black; font-weight: bold;\">Notes on Presenters:</span><br style=\"color: black;\" /><br /><span style=\"color: black;\">Nancy Adajania </span>is a cultural theorist, art critic and curator. She was formerly Editor of Art India. Adajania studied Politics and Film, and has been working over the last decade to develop a critical framework for new media practices in India.<br /><br style=\"color: black;\" /><span style=\"color: black;\">Shaina Anand</span> is a filmmaker and video artist, working independently on 'expanded video' projects such as using cableTV, surveillance and tactical media forms, since 1997. Her work draws from a reconsideration of documentary ethics, and its forms. In 2008 she co-initiatied CAMP, as well as the PAD.MA video archive. <br /><br /><span style=\"color: black;\">Kaushik Bhaumik</span> is Vice President, Osian's - Connoisseurs of Art. He has published articles on Indian and World Cinema in various anthologies. He is co-editor of Visual Sense: A Cultural Reader due later this year from Berg Publishers, Oxford. <br /><br /><span style=\"color: black;\">Rana Dasgupta </span>is a British novelist based in Delhi. His first book, Tokyo Cancelled (2005) was a cycle of contemporary folktales about the experience of globalisation.&nbsp; His novel Solo will appear in spring 2009.<br /><br style=\"color: blue;\" /><span style=\"color: blue;\"><span style=\"color: black;\">Ranjit Hoskote</span> </span>is a cultural theorist, poet and curator. He studied Politics, Literature and Aesthetics, and has been collaborating with Nancy Adajania towards a theory of 'critical transregionality'. Hoskote is co-curator of the 7th Gwangju Biennale (2008). <br /><br /><span style=\"color: black;\">Sebastian L\u00c3\u00bctgert </span>is a writer, programmer and artist who lives in Berlin. <br /><br /><span style=\"color: black;\">Mriganka Madhukaillya</span> teaches Communication Design at IIT, Guwahati and is co-founder of Desire Machine collective, an ensemble of practitioners working predominantly with new media, video and photography. They have recently initiated the artists-space Periferry, on a boat on the Brahmaputra. <br /><br /><span style=\"color: black;\">Kabir Mohanty </span>is filmmaker and video artist based in Mumbai. <br /><br /><span style=\"color: black;\">Ashok Sukumaran</span> studied architecture and media art, and now works as an artist and organiser. His work across art and technology has received several honours, most recently a Golden Nica at the Prix Ars Electronica, 2007. He is a co-initiator of CAMP, a space for artistic research, projects, residencies and events, in Mumbai. <br /><br style=\"color: black;\" /><span style=\"color: black;\">Devdutt Trivedi</span>&nbsp; is a cinephile who lectures on classical film theory and works at Osian's. <br /><br />",
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"header": "Ek Dozen Paani is a screening of 12 short films made during our project in Jogeshwari, a north Mumbai suburb. <br />This is the first screening of the material, and was specially held for&nbsp; the video group itself, and other community members and friends. <br /><br /><br />3-5 pm , Ketnav Preview Theatre, Bandra. <br />Sunday, 28th September 2008. <br />",
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"header": "ShainaA participated in the inaugural series of workshops at Jadavpur University's new Media Lab, in the section on \"Law and the Image\", coordinated by Namita Malhotra from the Alternative Law Forum, Bangalore. ",
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"header": "ShainaA premiered Capital Circus and <a href=\"http://camputer.org/event.php?id=24\">Cold Clinic</a>, two projects about CCTV in the UK, at the <a href=\"http://www.hok.no/hOvikodden-live-2008.4501514-30550.html\">Henie Onstad Kunstsenter </a>Oslo as part of Reality Effect curated by Tone Hansen and Caroline Ugelstad.",
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"header": "A presentation&nbsp; by Giovanni Maruzzelli on connecting cellphones to a computer network using the Asterisk open-source telephony server, and the chan_celliax driver. <br />Monday, 20th October. <br />6:30 p.m to 9:00 pm. <br />CAMP Studio. <br />",
"body": "<br />There are currently about 60 million internet users in India. By the end of this year, it is estimated that there will be 300 million mobile phone users in the country. The mobile phone network, with its Value-Added-Services, SMS contests, Voice Portals, etc. and widespread use in lower-income communities, appears to already supersede the internet as a primary technological infrastructure.<br />This is the logic which is assumed by many technology startups in the mobile space. But what are the underlying technologies being used, and what other consequences and yet-unknown possibilities do they open up? <br /><br />For example how it possible to get your own space on this network (as you are able to host a website)? What are the technical, legal and social implications of connecting the IP-based computer networks and the mobile phone networks (and what is the status of hybrid VoIP services, or wi-fi on phones for example). <br /><br />To take us through the process of connecting cell phones to&nbsp; computers, as a key technical component of this possibility, CAMP is happy to announce a presentation/ workshop with Giovanni Maruzzelli from <a href=\"http://celliax.org\" title=\"Celliax \">http://celliax.org</a>.<br /><br />The workshop is technical in nature, but non-tech people interested in the space are welcome. <br /><br />&nbsp;&nbsp; Workshop Timings: 6:30-9pm, Monday, 20th October.<br />&nbsp;&nbsp; Venue: CAMP Studio, Chuim Village, Khar. <br />&nbsp;&nbsp; email <a href=\"http://camputer.org/?show=contact\">info@camputer.org</a> for directions. <br /><br />&nbsp;&nbsp; The 2-hour workshop will include:<br /><br />&nbsp;&nbsp; 1&gt; An introduction to Asterisk, the open source telephony server - what asterisk can do, applications of a telephony server, basic setup and configuration. <br />&nbsp;&nbsp;&nbsp; 2&gt;&nbsp; an explanation of the driver (chan_celliax) Giovanni has written to be able to connect Asterisk to most regular cell-phones. Also brief introduction to the driver for Skype. <br />&nbsp;&nbsp;&nbsp; 3&gt; A hands-on session where we connect a cell-phone to a computer and setup a simple real-world application on Asterisk using voice-based menus and / or SMS.<br /><br />&nbsp;This is short notice, but if you've had an idea for something you've wanted to do with an SMS or voice-based service, or just something fun you'd like to try with such a system, do send it in, and we'll try and incorporate it into our plan for the workshop and follow-up events. <br /><br />",
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"header": "AshokS and ShainaA participated in the Taipei Biennale edition of <a href=\"http://dictionaryofwar.org/taipei\">Dictionary of War</a>.&nbsp; The concepts they presented were: Insulation and Zoom. ",
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"shortname": "Prison",
"title": "The Impossible Prison",
"header": "ShainaA shows <a href=\"http://camputer.org/event.php?id=24\">Cold Clinic</a> as part of&nbsp; <a href=\"http://www.nottinghamcontemporary.org/programme/current/\">The Impossible Prison</a> at The Police Station, Galleries of Justice, Nottingham. Nottingham Contemporary. ",
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"title": "Ek Dozen Screenings 2 and 3",
"header": "<span style=\"color: orange;\">Screening # 2 </span><br style=\"color: orange;\" /><br />Friday 7 November 2008<br />7:30 pm <br />at<br />YUVA Community Resource Centre<br />Bandra Plot. Premnagar<br />Jogeshwari East<br /><br /><span style=\"color: orange;\">Screening # 3 </span><br /><br />Sunday 9 November 2008 <br />7:30 pm <br />at <br />JOY [Jogeshwari Organisation of Youth]<br />Sarvodaya Nagar <br />Jogeshwari East<br />",
"body": "Continuing screenings from the <a href=\"http://camputer.org/event.php?id=11\">Jogeshwari Video Project</a>. <br />All are invited! email: <a href=\"http://camputer.org/?show=contact\">info@camputer.org</a> for details and directions. <br />",
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"shortname": "48degreenews",
"title": "48 degrees",
"header": "ShainaA and AshokS present Motornama Roshanara, cycle-rickshaw tours of a \"post-industrial\" landscape, in Roshanara Road, Delhi during the <a href=\"http://48degrees.org/\" target=\"_blank\">48degrees</a> public art festival.",
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"shortname": "indianhighway",
"title": "Indian Highway",
"header": "AshokS and ShainaA present Lossfulness, a set of four videos and an environment, at the Serpentine Gallery, London as part ofthe Indian Highway exhibition.",
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"title": "Khirkeeyaan",
"header": "Shaina A presents Khirkeeyaan at The Power Plant. Contemporary Art Gallery. Toronto.<i>If We Can't Get it Together' Artists Rethinking the (mal)function of Communities</i>, Dec 14",
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"title": "Ek Dozen Screenings 4, 5 and 6",
"header": "<span style=\"color: orange;\">Screening # 4</span><br style=\"color: orange;\" /><br />Wednesday 17 December 2008<br />6 pm <br />at<br />Room no. V in TISS<br /><br /><span style=\"color: orange;\">Screening # 5 </span><br /><br />Friday 19 December 2008 <br />6 pm <br />at <br />Jnanapravaha<br />Queens Mansion,<br />3rd Floor,<br />A.K. Nayak Marg, Fort<br />For map, click <a href=\"http://camputer.org/images/jnanaMap.jpg\">here</a><br /><br /><span style=\"color: orange;\">Screening # 6 <br /><br /></span>Saturday 20th December 2008<br />6pm<br />at Swami Vivekanand School, <br />opposite IT Colony, <br />Meghwadi, <br />Jogeshwari East<br /><br />",
"body": "Continuing screenings from the <a target=\"_blank\" href=\"../event.php?id=11\">Jogeshwari Video Project</a>. <br />All are invited! email: <a target=\"_blank\" href=\"../?show=contact\">info@camputer.org</a> for details and directions. ",
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"title": "Ek Dozen Screening 7",
"header": "<span style=\"color: orange;\">Screening # 7</span><br style=\"color: orange;\" /><br />Saturday 27 December 2008<br />6:30 pm<br />at<br />CAMP's Rooftop<br />301 Alif Apartments<br />34-A Chuim Village<br />Khar (W)<br />Mumbai - 52<br /><br /><a href=\"http://camputer.org/campstudio.html\" target=\"_blank\">where is this?</a><br />",
"body": "Continuing screenings from the <a target=\"_blank\" href=\"../event.php?id=11\">Jogeshwari Video Project</a>. <br />All are invited! email: <a target=\"_blank\" href=\"../?show=contact\">info@camputer.org</a> for details and directions. ",
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"shortname": "pirate cinema preview",
"title": "Pirate Cinema Bombay Sneak Preview",
"header": "<div style=\"text-align: center;\"><br />\n</div>\n<div style=\"text-align: left;\">\n<div style=\"text-align: center;\">Sunday, December 28<br />7 pm - 10 pm<br />at CAMP rooftop<br /></div><br /><br />\n<div style=\"text-align: center;\">Jose Benazeraf<br />James Benning<br />Guy Debord<br />Paula Delsol<br />Philippe Garrel<br />Jean-Luc Godard<br />Isidore Isou<br />Ken Jacobs<br />Joseph Marzano<br />Aleksandr Medvedkin<br />Jonas Mekas<br />Artavazd Peleshian<br />Nicholas Ray<br />Satyajit Ray<br />Jack Smith<br />Agnes Varda<br />Dziga Vertov<br />Andy Wachowski<br />Larry Wachowski<br />Andy Warhol<br /></div></div>",
"body": "<br /><span style=\"color: orange;\">Pirate Cinema</span><br />Not just a series of screenings, or a collection of pirated movies, but the<br />question of making visible, and then temporarily obsolete, a specific social<br />relation, mediated by copyrighted images, and a specific type of separation,<br />or detachment, perfected by imaginary copyrights, that affects the art of<br />cinema, the space of cinema, and the discourse of cinema. Unlike New Cinema,<br />which is opposed to Old Cinema, Alternative Cinema, which is opposed to<br />Mainstream Cinema, Political Cinema, which is opposed to Unpolitical Cinema,<br />French Cinema, which is opposed to American Cinema, or Digital Cinema, which is<br />opposed to nothing at all, Pirate Cinema is opposed to Proprietary Cinema.<br /><br style=\"color: orange;\" /><span style=\"color: orange;\">Pirate Cinema Bombay</span><br />Not just a rooftop, even though that's not the least of it. Most obviously, a<br />problem of transportation and translation. Pirate Cinema, unlike a pirated<br />movie, does not travel easily, it cannot be exported, imported, airlifted,<br />airdropped. It can't be booked, it won't be able to fill a space in the arts, or<br />a certain vacuum in arthouse. In the best case, it will itself create a vacuum.<br />Pirate Cinema can be translated, but not literally, and probably not by Pirate<br />Cinema, and it can be copied, but not without a particular kind of pragmatism,<br />or tactical ignorance, which itself would have to be copied, or translated. One<br />can say: \"The Beverly Hills of Bollywood\", but the question is, then what?<br /><br /><span style=\"color: orange;\">Pirate Cinema Bombay Sneak Preview</span><br />Not just a sneak preview, or rather not a sneak preview at all, not in the sense<br />that most of the images to be projected would reappear again. Still, it's a<br />hint, and still, there's a story, a hint at a story, or history within cinema,<br />which is sometimes even a history without cinema, and almost always a history<br />slightly outside cinema, just enough to make retrospective impossible, and<br />instead allow for preview. The story itself - how does one translate \"punk\"<br />again, to hindi... ah, we forgot, one doesn't - begins in the west, and then<br />goes east, and back in time. This screening, unlike some that will follow, is<br />much more encyclopedia than pedagogy. Two hours of film, two lines of dialogue.<br /><br />--------------------------------------------------------------------------------<br /><br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; ()<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &gt;&lt;<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<span style=\"color: orange;\"> pirate cinema bombay</span><br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; sundays from 7 to 10<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a href=\"http://www.piratecinema.org\" title=\"Pirate Cinema\">www.piratecinema.org</a><br /><br /><br /><a href=\"http://camputer.org/campstudio.html\" title=\"camp location\"></a>",
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"shortname": "pirate",
"title": "Pirate Cinema Bombay",
"header": "<span style=\"color: orange;\"></span>Pirate Cinema from Berlin, who we are working with on the video archive <br /><a href=\"http://pad.ma\" title=\"pad.ma online video archive\">http://pad.ma</a>,&nbsp; present a series of weekly (Sunday) events in the Pirate Cinema tradition, on films and footage. <br />",
"body": "\"Not just a series of screenings, or a collection of pirated movies, but the<br />question of making visible, and then temporarily obsolete, a specific social<br />relation, mediated by copyrighted images, and a specific type of separation<br />or detachment, perfected by imaginary copyrights, that affects the art of<br />cinema, the space of cinema, and the discourse of cinema.\"<br /><br /><a href=\"http://piratecinema.org/\" title=\"pirate cinema\">http://piratecinema.org</a>",
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"title": "Pirate Cinema 1",
"header": "<br />\n<div style=\"text-align: center;\">Sunday,&nbsp; January 4, <span style=\"color: orange;\">2009!</span><br />7 pm - 10 pm<br />at CAMP rooftop.<br /><br /></div><center>\n Ren\u00c3\u00a9 Vienet<br />\n <span style=\"color: orange;\">Can Dialectics Break Bricks?</span><br />\n 1973, 82 min <br /><br />\n Guy Debord<br />\n <span style=\"color: orange;\">The Society of the Spectacle</span><br />\n 1973, 87 min<br /><br />\n</center>",
"body": "<div style=\"text-align: center;\">\n<div style=\"text-align: left;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br /></div>take-away<br />\n Ren\u00c3\u00a9 Vienet<br />\n <span style=\"color: orange;\">The Girls of Kamar\u00c3\u00a9</span><br />\n F 1974<br />\n 87 min, 600 MB<br /><br />\n\n take-away<br />\n Guy Debord<br />\n <span style=\"color: orange;\">In girum imus nocte et consumimur igni</span><br />\n F 1978<br />\n 95 min, 700 MB<br /><br /><br />\n<div style=\"text-align: left;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ()<br /></div>\n<div style=\"text-align: left;\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &gt;&lt;<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<span style=\"color: orange;\"> pirate cinema bombay</span><br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; sundays from 7 to 10<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <a target=\"_blank\" href=\"http://www.piratecinema.org/\" title=\"Pirate Cinema\">www.piratecinema.org</a><br /></div><br /><br />\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />\n<div style=\"text-align: left;\">\nTo&nbsp;screen&nbsp;the&nbsp;films&nbsp;of&nbsp;the&nbsp;Situationists&nbsp;as&nbsp;\"classics\"&nbsp;is&nbsp;not&nbsp;intended&nbsp;to&nbsp;imply&nbsp;<br />\n\nthat&nbsp;they&nbsp;had&nbsp;been&nbsp;seen&nbsp;much,&nbsp;nor&nbsp;that&nbsp;their&nbsp;politics&nbsp;had&nbsp;been,&nbsp;in&nbsp;any&nbsp;common&nbsp;&nbsp;&nbsp;<br />\n\nmeaning&nbsp;of&nbsp;that&nbsp;term,&nbsp;victorious.&nbsp;It's&nbsp;just&nbsp;to&nbsp;acknowledge&nbsp;that&nbsp;their&nbsp;form&nbsp;-&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\ntake&nbsp;a&nbsp;given&nbsp;film&nbsp;and&nbsp;change&nbsp;its&nbsp;dialogues&nbsp;to&nbsp;make&nbsp;it&nbsp;tell&nbsp;a&nbsp;different&nbsp;story&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\n(Vienet),&nbsp;take&nbsp;a&nbsp;given&nbsp;book&nbsp;and&nbsp;plunder&nbsp;the&nbsp;archives&nbsp;of&nbsp;cinema&nbsp;to&nbsp;turn&nbsp;it&nbsp;into&nbsp;a<br />\n\nmovie&nbsp;(Debord)&nbsp;-&nbsp;has&nbsp;become&nbsp;commonplace.&nbsp;This&nbsp;is&nbsp;exactly&nbsp;the&nbsp;type&nbsp;of&nbsp;material&nbsp;&nbsp;&nbsp;<br />\n\none&nbsp;would&nbsp;expect&nbsp;to&nbsp;find&nbsp;on&nbsp;YouTube&nbsp;-&nbsp;only&nbsp;that&nbsp;the&nbsp;general&nbsp;populace&nbsp;of&nbsp;YouTube&nbsp;<br />\n\nseems&nbsp;to&nbsp;be&nbsp;slightly&nbsp;less&nbsp;ambitious,&nbsp;or&nbsp;somewhat&nbsp;more&nbsp;invested&nbsp;in&nbsp;forms&nbsp;of&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\npolitics&nbsp;they&nbsp;\"can&nbsp;believe&nbsp;in\",&nbsp;that&nbsp;they&nbsp;don't&nbsp;have&nbsp;to&nbsp;personally&nbsp;invent,&nbsp;test,<br />\n\ncorrect,&nbsp;apply,&nbsp;improve,&nbsp;or&nbsp;make&nbsp;complicated&nbsp;historical&nbsp;films&nbsp;about,&nbsp;since&nbsp;these<br />\n\npolitics&nbsp;are&nbsp;victorious&nbsp;by&nbsp;definition,&nbsp;and&nbsp;no&nbsp;longer&nbsp;subject&nbsp;to&nbsp;dialectics.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\nIn&nbsp;1973,&nbsp;dialectics&nbsp;could&nbsp;break&nbsp;bricks,&nbsp;and&nbsp;that's&nbsp;only&nbsp;one&nbsp;of&nbsp;the&nbsp;many&nbsp;wonders&nbsp;<br />\n\nof&nbsp;situationist&nbsp;cinema.&nbsp;Since&nbsp;both&nbsp;films&nbsp;promote&nbsp;revolutionary&nbsp;class&nbsp;struggle,&nbsp;&nbsp;<br />\n\nwith&nbsp;the&nbsp;blunt&nbsp;(Vienet)&nbsp;or&nbsp;subtle&nbsp;(Debord)&nbsp;irony&nbsp;that&nbsp;is&nbsp;needed&nbsp;for&nbsp;this&nbsp;task,&nbsp;&nbsp;<br />\n\nthere&nbsp;is&nbsp;a&nbsp;lot&nbsp;of&nbsp;fighting&nbsp;going&nbsp;on,&nbsp;either&nbsp;martial&nbsp;arts&nbsp;(Vienet)&nbsp;or&nbsp;cavalry&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\n(Debord),&nbsp;and&nbsp;if&nbsp;these&nbsp;fighting&nbsp;sequences,&nbsp;today,&nbsp;appear&nbsp;to&nbsp;be&nbsp;too&nbsp;long,&nbsp;then&nbsp;&nbsp;&nbsp;<br />\n\none&nbsp;can&nbsp;be&nbsp;assured&nbsp;that&nbsp;they&nbsp;would&nbsp;have&nbsp;been&nbsp;even&nbsp;longer,&nbsp;had&nbsp;there&nbsp;only&nbsp;been&nbsp;&nbsp;&nbsp;<br />\n\nmore&nbsp;material,&nbsp;or&nbsp;more&nbsp;actual&nbsp;occurrences&nbsp;of&nbsp;dialectical&nbsp;materialism&nbsp;in&nbsp;action.&nbsp;<br />\n\nIn&nbsp;terms&nbsp;of&nbsp;historical&nbsp;accuracy,&nbsp;it's&nbsp;hard&nbsp;to&nbsp;beat&nbsp;situationist&nbsp;cinema's&nbsp;action&nbsp;<br />\n\nsequences,&nbsp;even&nbsp;though&nbsp;some&nbsp;of&nbsp;the&nbsp;historical&nbsp;references&nbsp;are&nbsp;less&nbsp;obvious&nbsp;than&nbsp;&nbsp;<br />\n\nthey&nbsp;used&nbsp;to&nbsp;be,&nbsp;and&nbsp;some&nbsp;of&nbsp;the&nbsp;political&nbsp;inside&nbsp;jokes&nbsp;have&nbsp;aged&nbsp;better&nbsp;than&nbsp;&nbsp;&nbsp;<br />\n\nothers.&nbsp;While&nbsp;the&nbsp;Situationists,&nbsp;in&nbsp;1973,&nbsp;had&nbsp;no&nbsp;illusions&nbsp;about&nbsp;the&nbsp;function&nbsp;of<br />\n\nthe&nbsp;unions,&nbsp;the&nbsp;same&nbsp;statement&nbsp;can't&nbsp;be&nbsp;made&nbsp;with&nbsp;regards&nbsp;to&nbsp;the&nbsp;function&nbsp;of&nbsp;the<br />\n\norgasm.&nbsp;In&nbsp;that&nbsp;sense,&nbsp;there&nbsp;is&nbsp;room&nbsp;for&nbsp;improvement,&nbsp;on&nbsp;YouTube&nbsp;or&nbsp;elsewhere.&nbsp;<br />\n\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\nFurther&nbsp;reading:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\nGuy&nbsp;Debord,&nbsp;The&nbsp;Situationists&nbsp;and&nbsp;the&nbsp;New&nbsp;Forms&nbsp;of&nbsp;Action&nbsp;in&nbsp;Politics&nbsp;and&nbsp;Art,&nbsp;&nbsp;<br />\n\n&nbsp;&nbsp;&nbsp;&nbsp;1963,&nbsp;<a href=\"http://www.piratecinema.org/textz\">http://www.piratecinema.org/textz</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br />\n\nRen\u00c3\u00a9&nbsp;Vienet,&nbsp;The&nbsp;Situationists&nbsp;and&nbsp;the&nbsp;New&nbsp;Forms&nbsp;of&nbsp;Action&nbsp;Against&nbsp;Politics&nbsp;and&nbsp;<br />\n\n&nbsp;&nbsp;&nbsp;&nbsp;Art,&nbsp;1967,&nbsp;<a href=\"http://www.piratecinema.org/textz\">http://www.piratecinema.org/textz</a>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br /></div>\n<br />\n<br /><br /></div><br />",
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"header": "<br />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">&nbsp;Berlin, World Capital of Negativity</span><br />Sunday,&nbsp; January 11, 2009.<span style=\"color: orange;\"></span><br />7 pm - 10 pm<br />at CAMP rooftop. <br /><br /></div>",
"body": "<br />\n<div style=\"text-align: center;\">\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span style=\"color: orange;\">Ticket of No Return</span><br />\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; directed by Ulrike Ottinger<br />\nwith Tabea Blumenschein, Nina Hagen,<br />\nEddie Constantine, Martin Kippenberger<br />\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 1979, 110 mins, 1.4 GB<br />\n<br />\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <span style=\"color: orange;\">Possession</span><br />\n&nbsp; directed by Andrzej Zulawski<br />\n&nbsp;with Isabelle Adjani, Sam Neill,<br />\nMargit Carstensen, Heinz Bennent<br />\n&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; 1981, 120 mins, 1 GB<br /><br /></div><br />\" BERLIN, name - polabian: \"swamp\", vulgar: \"built on sand\"; a \"political<br />\nabstraction\" (Maurice Blanchot), a \"position from which there is no escape\"<br />\n(Joseph Goebbels), a \"conglomerate of calamities\" (Frank Wedekind), a \"curse\"<br />\n(Alfred D\u00c3\u00b6blin); an \"attitude of defiance mingled with self-conceit\" (Walter<br />\nBenjamin), the political condition of being \"poor but sexy\" (Klaus Wowereit)<br />\n<br />\nNEGATIVITY, noun - organized negation, collective expression of antagonism,<br />\ndenial or refutation, application of destructive forces within a political<br />\nstruggle that is not aimed at a positive goal and usually directed against the<br />\nstate and its organs; critical negativity - to employ the power of negation in a<br />\ncritical situation: \"I have been hit by a taxi\", \"my wife has left me\", etc.;<br />\ndialectical negativity - the negatively dialectical reversal of the concept of<br />\nnegative dialectics, negativity applied to itself, affirming - but refusing to<br />\naccept as total or self-identical - the object of negation: \"no future\", \"punk's<br />\nnot dead\" etc.; historical-political negativity - any sustained political effort<br />\nthat aims to make the sum of a specific historical process less than zero.<br />\nCommonly cited causes of negativity: bad weather, bad food, bad housing, the<br />\nGreat Depression, the Cold War, the German Reunification (see: Berlin)<br />\n<br />\nTO CAPTURE THE SPIRIT OF A CITY, expression - 1. to drink oneself to death: to<br />\ncapture the spirits of a city (to never return from a city); 2. to find the<br />\nmonster one's wife is having an affair with: to chase the ghosts of a city (to<br />\nbe possessed by a city); 3. to build a wall around a city (see: negativity)\"<br />\n<br />\n--------------------------------------------------------------------------------<br />\n<br />\n<div style=\"text-align: center;\">&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; ()<br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &gt;&lt;<br />pirate cinema bombay<br />&nbsp;sundays from 7 to 10<br />www.piratecinema.org<br /><br />&nbsp;&nbsp;&nbsp; CAMP Rooftop<br />301 Alif Apartments<br />34A Chuim Village<br />&nbsp;&nbsp;&nbsp;&nbsp; Khar West<br /></div>\n\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />\nfor directions:<br /><a href=\"http://camputer.org/campstudio.html\">\nhttp://camputer.org/campstudio.html</a>",
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"shortname": "cinema3",
"title": "Pirate Cinema 3",
"header": "<center><br />\n<div style=\"text-align: center;\">\n <span style=\"color: orange;\">The City Is Big, The Image is Small</span><br />\n Sunday,&nbsp; January 18, 2009.<span style=\"color: orange;\"></span><br />7 pm - 10 pm<br />at CAMP rooftop.<br /></div><br />\n\n <br />\n</center>\n",
"body": "<div style=\"text-align: center;\">Los Angeles Plays Itself<br />\n Thom Andersen<br />\n USA 2003<br />\n 179 mins, 1.4 GB<br />\n <a href=\"http://www.0xdb.org/0379357\">www.0xdb.org/0379357</a><br /></div><br />This is the city: Los Angeles, California. They make movies here. I live here.<br />\n<br />\nSometimes I think that gives me the right to criticize the way movies depict my city.<br />\n<br />\nI know it's not easy. The city is big. The image is small. Movies are vertical.<br />\nAt least when they're projected on a screen. The city is horizontal, except for what we call downtown. Maybe that's why the movies love downtown more than we do. If it isn't the site of the action, they try to stick its high-rise towers in the back of the shot.<br />\n<br />\nBut movies have some advantages over us.<br />\n<br />\nThey can fly through the air. We must travel by land.<br />\n<br />\nThey exist in space. We live and die in time.<br />\n<br />\nSo why should I be generous?<br />\n<br />\nOf course, I know movies aren't about places, they're about stories. If we notice the location, we are not really watching the movie. It's what's up front that counts. Movies bury their traces, choosing for us what to watch, then moving on to something else.<br />\n<br />\nThey do the work of our voluntary attention, and so we must suppress that faculty as we watch. Our involuntary attention must come to the fore.<br />\n<br />\nBut what if we watch with our voluntary attention, instead of letting the movies direct us?<br />\n<br />\nIf we can appreciate documentaries for their dramatic qualities, perhaps we can appreciate fiction films for their documentary revelations.<br />\n<br />\nAnd what if suspense is just another alienation effect. Isn't that what Hitchcock taught? For him, suspense was a means of enlivening his touristy<br />\ntravelogues. Then maybe I can find another way to animate this city symphony in reverse. Maybe this effort to see how movies depict Los Angeles may seem more than wrong-headed or mean-spirited.<br />\n<br />\nFull script:<br />\n &nbsp; &nbsp;<a href=\"http://newfilmkritik.de/archiv/2005-03/los-angeles-plays-itself/\" target=\"_blank\">http://newfilmkritik.de/<wbr>archiv/2005-03/los-angeles-<wbr>plays-itself/</a><br />\nList of references:<br />\n &nbsp; &nbsp;<a href=\"http://www.imdb.com/title/tt0379357/movieconnections\" target=\"_blank\">http://www.imdb.com/title/<wbr>tt0379357/movieconnections</a><br />\nReview by Jonathan Rosenbaum:<br />\n &nbsp; &nbsp;<a href=\"http://www.chicagoreader.com/movies/archives/2004/1004/041001.html\" target=\"_blank\">http://www.chicagoreader.com/<wbr>movies/archives/2004/1004/<wbr>041001.html</a><br />\n",
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"header": "<center>\n<div style=\"text-align: left;\"><br />\n<div style=\"text-align: left;\">\n<div style=\"text-align: center;\"><span style=\"color: orange;\">Slumdog Gangsta Astronaut *</span><br />&nbsp; Sunday,&nbsp; January 25, 2009.<span style=\"color: orange;\"></span><br />\n7 pm - 10 pm<br />\nat CAMP rooftop.</div></div>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;\n<div class=\"gmail_quote\"><wbr>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br /></div></div>\n</center>",
"body": "<center>\n<div class=\"gmail_quote\"><br />\n<div style=\"text-align: center;\">&nbsp;&nbsp; &nbsp;&nbsp; 7:00 pm<br />\n <span style=\"color: orange;\">Space Is The Place</span><br />\n &nbsp;&nbsp;&nbsp; John Coney<br />\n US 1974, 81 min, 700 MB<br />\n &nbsp; <a href=\"http://www.0xdb.org/0072195\" target=\"_blank\">www.0xdb.org/0072195</a><br />\n<br />\n &nbsp; &nbsp; &nbsp; &nbsp; 8:30 pm<br />\n <span style=\"color: orange;\">Sweet Sweetback's Baadasssss Song</span><br />&nbsp;&nbsp; &nbsp;\n Melvin van Peebles<br />&nbsp;&nbsp;\n US 1971, 97 min, 700 MB<br />&nbsp; <a href=\"http://www.0xdb.org/0067810\" target=\"_blank\">www.0xdb.org/0067810</a><br />\n<br />&nbsp; &nbsp; &nbsp; &nbsp; take-away<br />\n &nbsp;&nbsp;&nbsp;&nbsp; <span style=\"color: orange;\">Ganja &amp; Hess</span><br />\n &nbsp; &nbsp;&nbsp; &nbsp; Bill&nbsp;Gunn<br />&nbsp;\n US 1973, 110 min, 1.4 GB<br />\n &nbsp;&nbsp; <a href=\"http://www.0xdb.org/0068619\" target=\"_blank\">www.0xdb.org/0068619</a><br />\n<br />\n &nbsp;&nbsp;&nbsp; <br />\n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; for directions<br />\n <a href=\"http://www.camputer.org/\" target=\"_blank\">www.camputer.org/campstudio.<wbr>html</a><br /></div>\n<br />\n<div style=\"text-align: left;\">\n------------------------------<wbr>------------------------------<wbr>--------------------<br />\n<br />\nWe had planned a screening that would end in discussion,<br />\nbut then decided to rather have one that could end in dance.<br />\n<br />\nFurther reading:<br />\n &nbsp; &nbsp;<a href=\"http://www.piratecinema.org/screenings/20050710\" target=\"_blank\">www.piratecinema.org/<wbr>screenings/20050710</a> (Space Is The Place)<br />\n &nbsp; &nbsp;<a href=\"http://www.piratecinema.org/screenings/20070121\" target=\"_blank\">www.piratecinema.org/<wbr>screenings/20070121</a> (Sweet Sweetback)<br />\n &nbsp; &nbsp;<a href=\"http://www.piratecinema.org/screenings/20070128\" target=\"_blank\">www.piratecinema.org/<wbr>screenings/20070128</a> (Ganja &amp; Hess)<br />\n<br />\n* This is not a blaxploitation screening or a tribute to African-American<br />\n &nbsp;Cinema, but just a reminder that there are other, maybe even more funky and<br />\n &nbsp;fortunate ways out of this mess than making a million or getting the girl.<br /><br /></div></div>\n<div style=\"text-align: center;\">\n\n</div></center>",
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"header": "&nbsp; <br />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">&nbsp;&nbsp;&nbsp; Twentieth Century Toxicity</span><br />&nbsp;&nbsp;\n Sunday, February 1<br />&nbsp; &nbsp; &nbsp;\n 7 pm - 10 pm<br />&nbsp;&nbsp;&nbsp;&nbsp; <a href=\"http://camputer.org/campstudio.html\">CAMP rooftop</a>.<br />\n</div>",
"body": "<div style=\"text-align: center;\">7: 00 pm <br /><span style=\"color: orange;\">Safe </span><br />Todd Haynes <br />USA 1995 1 h 59 m<br /><a href=\"http://0xdb.org/0114323\">http://0xdb.org/0114323 </a><br /><br />9: 00 pm <br /><span style=\"color: orange;\">The River </span><br />Tsai Ming-Liang <br />Taiwan 1997 1 h 55 m<br /><a href=\"http://0xdb.org/0119263\">http://0xdb.org/0119263</a><br /><br /><br />Take-Aways<br /><br /><span style=\"color: orange;\">Poison </span><br />Todd Haynes<br />USA 1991. 1h 25m <br /><br /><span style=\"color: orange;\">The Hole</span><br />Tsai Ming-liang<br />Taiwan, France 1998.&nbsp; 1h 35m <br /><br /><br /><br />\n<div style=\"text-align: left;\">Two films about the interior and exterior of affliction. The hero gets it from playing dead in a river, the heroine from being \"allergic to the 20th century\". <br /><br />Keywords: hermeticism, allergy, AIDS metaphor, bodies, bent neck, leaking water in father's room, icy detachment, nosebleed,&nbsp; pine-scented, steam, Mcdonalds, black instead of teal, being held by the pillion-rider, slowly revealed that this is a family, could be a gay film.<br /><br /></div></div>",
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"header": "<center><span style=\"color: orange\">In Which <br />Not Only Annie Gives it Those Ones</span><br />\n Sunday, February 8<br />\n 7 pm - 10 pm<br /> <a href=\"../campstudio.html\">CAMP rooftop</a>.</center>",
"body": "<div style=\"text-align: center;\"><span style=\"color: blue;\">7: 00 pm </span><br />School Scenes <br />from <br /><span style=\"color: orange;\">Om Dar-B-Dar</span> - Kamal Swaroop<br /><span style=\"color: black;\">and</span><br style=\"color: orange;\" /><span style=\"color: orange;\">The Great Indian School Show</span> - Avishash Deshpande <br /><br /><span style=\"color: blue;\">&nbsp;8:00 pm</span><br /><span style=\"color: orange;\">In Which Annie Gives it Those Ones</span> - Pradip Krishen <br />\n1988&nbsp; 1h 50 min.<br /><br /><span style=\"color: blue;\">Doordarshan Presents</span>&nbsp; <br />A <br />Pradip Krishen<br />Arundhati Roy <br />Film<br /><br style=\"color: orange;\" /><span style=\"color: orange;\">In which Annie gives it those ones </span><br /><br /><span style=\"color: blue;\">Players</span><br />Roshan Seth <br />Arjun Raina <br />Arundhati Roy <br />Rituraj <br />Isaac Thomas <br />Moses Uboh <br />Idries Malki <br />Divya Seth <br />Jagan Shah <br />Benoy Thomas <br />Shantanu Nagpal<br />Shuddha Sengupta <br /><br /><br /><span style=\"color: blue;\">Other Fifth Years </span><br />Loveleeen Mishra <br />Shoumendra Bose <br />Smita Vats <br />Naved Aslam <br />Pankaj Rishi Kumar <br />Kuldeep Sarin <br /><br /><br style=\"color: blue;\" /><span style=\"color: blue;\">Others </span><br />Raghubir Yadav<br />Himani Shivpuri<br />Col Krishen Tuli<br />Cecil &nbsp;Quadir<br />Mohini Mathur<br />Khalid Baig <br />Romesh CHandra <br />Dilip Sirkar<br />Renee <br />Monohar Khuslani <br />Surendra Rajan <br />Neeraj Shah &nbsp;<br /><br /><span style=\"color: blue;\">Other Others</span><br />SItaram Panchal <br />Sanjay Malik <br />Hemant Mishra <br />Revati Venkatraman <br />Dhansingh <br /><br /><span style=\"color: blue;\">Other Students </span><br />D. Ranganathan <br />Deepika Deshpange <br />Anirban Roy <br />Shahrukh Khan<br />Siddharth Charkavarthy<br />Ibu Chaudhari <br />Mandeep Bhander <br /><br /><span style=\"color: blue;\">Other Other Students </span><br />Jude Jayanathan <br />Madhu Pandit <br />Bharti Singh<br />Vishwajeet Pradhan <br />Gayatri Vishwanathan<br />Manoj Bajpayee <br />Robin Roy <br />Shantum Seth<br />Tavishi <br />Habib Faisal <br />Harsh Chhaya <br />Anil Chaudhari <br /><br /><br />Production Designer Arundhati Roy <br />Art direction Ravi Khaimal<br />Story and Screenplay Arundhati Roy <br />Produced and Directed by Pradip Krishen <br />Asst. Directors: Pankah Rakesh Aradhana Seth<br /><br /><span style=\"color: orange;\">Shot on location at School of Planning and Architecture, New Delhi.&nbsp;Set in the summer of 1974. </span><br /><br /><br /></div>",
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"shortname": "padma09",
"title": "Pad.ma 2009",
"header": "<div style=\"text-align: center;\"><br />\n<span style=\"color: orange;\">Day:</span><br />\nMonday, February, 16, 2009.<br />\n\n<br />\n<span style=\"color: orange;\">Time:</span><br />\n11:am to 7pm<br />\n<br />\n<span style=\"color: orange;\">Location: </span><br />\n\"Who Are We?\" hall - inside the Discovery of India exhibition,<br />\nFirst Floor,<br />\nNehru Centre,<br />\nDr. Annie Besant Road,<br />\nWorli, Mumbai - 400018.<br /><br /></div><br />\n",
"body": "(See schedule of speakers <a href=\"http://camputer.org/event.php?id=75&amp;tab=schedule\">\nhere</a>. And A REPORT <a href=\"http://camputer.org/event.php?id=75&amp;tab=optBtn2\">here</a>.)<br /><br />We take great pleasure in inviting you to a day-long engagement with Pad.ma. <br /><br /><br />For\nthe past year, we (Oil21 from Berlin, the Alternative Law Forum from\nBangalore, and three organisations from Bombay: Majlis, Point of View\nand ChitraKarKhana/CAMP) have been working on various aspects of the\nonline archive, <a href=\"http://pad.ma/\" target=\"_blank\">http://pad.ma</a>. At the moment Pad.ma contains some 150 hours of video and over 100,000 annotations (text entries).<br />\n<br />In its traditional function as an archive, we see Pad.ma as a way of opening up images, meanings\nand effects that are present in video footage and at the time of its shooting. These are resources that conventions of editing and viewing moving images have tended\nto suppress. <br />At the same time, Pad.ma responds to the invitation and challenge\nof a landscape beyond \"the film\" as the desired end-product of this\nmedium, and beyond youtube as its default online repository.&nbsp;\nFilmmakers and others are already engaged in many forms of\npresentation, interpretation, and the combination of images and ideas.\nPad.ma suggests some specific new relations between images and text,\nproduction and commentary, and online and offline.&nbsp; It proposes a few new ways to write about and discuss\ndocumentary film practice, ways to base academic work on video sources,\nand more generally, ways to still care for something that has become\n\"democratic\".&nbsp; All of these claims, ofcourse, will be tested in\nPad.ma's new phase.<br />\n<br />In March this year, Pad.ma will be opened up to external\ncontributions. As a lead-up to this, we invited a number of \"users\":\nindependent filmmakers, artists, activists, researchers, students, scholars, and enthusiasts\nto contribute their own material into <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>,&nbsp; or traverse the archive and explore its ways. <br />\n<br />On the 16th of February, we are having a day-long series of\npresentations and discussions with this group. We hope you will join us\nand take part, to understand the activities over the past year, and to\nhelp us plan the road ahead.<br />\n<br />with love, <br />pad.ma group:<br /><br />\n<a href=\"http://altlawforum.org/\" target=\"_blank\">altlawforum.org</a><br />\n<a href=\"../\" target=\"_blank\">camputer.org</a><br />\n\n<a href=\"http://chitrakarkhana.net/\" target=\"_blank\">chitrakarkhana.net</a><br />\n\n<a href=\"http://majlisbombay.org/\" target=\"_blank\">majlisbombay.org</a><br />\n<a href=\"http://oil21.org/\" target=\"_blank\">oil21.org</a><br />\n<a href=\"http://pointofview.org/\" target=\"_blank\">pointofview.org</a><br /><br />Speakers:<br /><br /><span style=\"font-weight: bold;\">Aagaaz</span> is a voluntary youth group whose members come from PremNagar, Meghwadi and SanjayNagar bastis of Jogeshwari, Mumbai from diverse religious and caste backgrounds. They function as a&nbsp; youth development center and and organise camps on education, health, employment, personal development and projects around local infrastructures such as water and rationing (PDS). They are supported entirely by local contributions. <br />The pad.ma presentation is by Shaali Shaikh, Durga Gudillu and Ismail Sharif, Hakim Liliyawala and Ajeet Mahale. <br /><br /><span style=\"font-weight: bold;\">Nilanjan Bhattacharya</span> is a Calcutta based filmmaker who has been making documentaries for the last 14 years. In 2005 he received the National Film Award for his documentary, Under This Sun. He is now working on the indigenous food culture in India. Nilanjan is the initiator and project director of the \"Interpretative Interactive Archive on Calcutta\".<br /><br /><span style=\"font-weight: bold;\">Desire Machine Collective.</span> Mriganka Madhukailya and Sonal Jain are co-founders of Desire Machine collective, an ensemble of practitioners working predominantly with new media, video and photography.&nbsp; They have recently initiated the artists-space Periferry, on a boat on the Brahmaputra.<br /><br /><span style=\"font-weight: bold;\">Ghar Bachao Ghar Banao Andolan</span>: A social movement of slum dwellers and unorganised sector workers-hawkers.&nbsp; The Andolan was initiated to challenge the inhuman and unconstitutional demolitions of more than 75,000 houses by the Government of Maharashtra in 2004. The movement, under the leadership of women believes in the dual approach of Sangharsh aur Navnirman and adopts non-violence as a value framework.The Andolan is affliated with NAPM (National Alliance of People's Movements). <br />The pad.ma presentation is by Simpreet Singh, a Production Engineer and TISS post-graduate who has been working full-time with the GBGB Andolan since 2005 and Ruchi Kumar, a second-year student of Tata Institute of Social Sciences who is doing her field work with the Andolan. <br /><br /><span style=\"font-weight: bold;\">Sanjay Kak</span> is an award winning documentary film-maker based in New Delhi. His recent film the feature length Jashn-e-Azadi (How we celebrate freedom, 2007) made extensive use of anonymous archival material from Kashmir.<br /><br /><span style=\"font-weight: bold;\">Priya Sen</span> mainly works with non-fictional and experimental genres of video, photo, sound and writing. She is currently with Sarai-CSDS, New Delhi where she works as a researcher-practitioner of experimental media with the Cybermohalla project - a network of media practitioners and writers in working class localities in Delhi- as well as with the Sarai Media Lab. <br /><br style=\"font-weight: bold;\" /><span style=\"font-weight: bold;\">Kaushik Bhaumik </span>programs films at Osian's-Connoisseurs of Art. He is co-editor of the recently published Visual Sense: a Cultural Reader published by Berg, Oxford. His monograph on early Indian cinema is forthcoming this year from Clarendon Press, Oxford.<br /><br /><span style=\"font-weight: bold;\">Sadanand Menon</span> is a reputed arts editor, teacher of 'cultural journalism', a widely published photographer, curator, writer and speaker on politics, ecology and the arts, and is Adjunct Faculty at the Asian College of Journalism, Chennai. A long-time collaborator of the dancer Chandralekha, he is currently in the process of setting up a publicly accessible archive of her work. <br /><br /><span style=\"font-weight: bold;\">Ranu Ghosh</span> is a film director and cinematographer based at Calcutta working in video and celluloid for the last ten years. She has done a number of national and international projects as a producer, cinematographer and researcher. <br /><br /><span style=\"font-weight: bold;\">Nida Ghouse </span>born in 1982, works in Cairo and Bombay. <br /><br /><span style=\"font-weight: bold;\">Ayisha Abraham</span> is an artist who has been increasingly researching and working with 8 mm found footage, including the film series \"Straight 8\".&nbsp; She is a member of the Bangalore artists collective, BAR1 and works as a visual arts consultant at the Srishti School of Art, Design and Technology.<br /><br /><span style=\"font-weight: bold;\">Lawrence Liang</span> is a researcher and writer. He is one of the founders of the Alternative Law Forum, Bangalore, and has been writing extensively&nbsp; on issues of law and culture, intellectual property and censorship. He is the author of A Guide to Open Content Licenses (Piet Zwart, 2005), and Sex, Laws and Videotape: The Public is Watching (PSBT, 2007). He is on the Board of the iCommons, and the Center for Internet and Society, and is currently working on a book on law and justice in indian cinema. <br /><br /><span style=\"font-weight: bold;\">Sebastian L\u00c3\u00bctgert </span>and <span style=\"font-weight: bold;\">Jan Gerber</span> are the software developers of pad.ma. They are initiators of a number of projects on intellectual property, cinema and the internet, including the cinema archive 0xdb.org, the Oil21 project, and Pirate Cinema. <br /><br /><span style=\"font-weight: bold;\">Shaina Anand</span> is a filmmaker, artist and co-initiator of the pad.ma project. <br /><br /><br /><br /><br /><br /><a href=\"http://pointofview.org/\" target=\"_blank\"></a>",
"schedule": "11:15 am. Shaina Anand<br /><span style=\"font-style: italic;\">Where we are. </span><br /><br />11: 30 am. Aagaaz. <br /><span style=\"font-style: italic;\">Kuch Ilakon Mein Pani Ki Gehrayi.</span><br /><br />12:00 Sanjay Kak. <br /><span style=\"font-style: italic;\">Flight over the CFL.</span><br /><br />12: 30 Priya Sen &nbsp;<br /><span style=\"font-style: italic;\">The Knower of Secrets, a film revisited. </span><br /><br />1:00 Nida Ghouse. <br /><span style=\"font-style: italic;\">Reading Pad.ma: a few observations on images and text in digital archives. </span><br /><br />Discussion. <br /><br />13:30 Lunch break<br /><br />14:30 <br />Sebastian L\u00c3\u00bctgert and Jan Gerber.<br /><span style=\"font-style: italic;\">10 things about video on the internet in 2009</span><br /><br />15:00&nbsp; GBGB Andolan. <br /><span style=\"font-style: italic;\">Replaying Hiranandani</span><br /><br />15:30 Desire Machine Collective.<br /><span style=\"font-style: italic;\">Name, Place: North East</span><br /><br />16:00 Kaushik Bhaumik<br /><span style=\"font-style: italic;\">Narratives in Trouble: Public Impulses and Private Desires</span><br /><br />16: 30 Lawrence Liang<br /><span style=\"font-style: italic;\">Image, Politics, and the Distribution of the Sensible</span><br />Discussion. <br /><br />17:00&nbsp; Tea Break <br /><br />17: 30&nbsp; Ayisha Abraham <br /><span style=\"font-style: italic;\">Ram Gopal </span><br /><br />17:50&nbsp; Ranu Ghosh<br /><br />18:10 Nilanjan Bhatacharya <br /><br />18:30&nbsp; Sadanand Menon. <br /><span style=\"font-style: italic;\">From Chandralekha's archive</span>. <br /><br />19:00&nbsp; Closing discussion <br /><br />",
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"opttext2": "\n Report on Pad.ma 2009 Event. \n\n On the 16th of February 2009, we officially opened out Pad.ma to the general public, and as a part of the launch we had a stimulating day-long event with various people who have been engaging with pad.ma. This report attempts to capture a sense of the day, as well as some of the questions and concerns that were raised. We were very excited by the range of responses, and ways in which people had used pad.ma in interpreting their own footage, revisiting their earlier work or annotating archived material, as well as the newer ways in which pad.ma were revealed for us through its use by this new set of participants. \n\n Shaina Anand began the day by providing a background to pad.ma, and how the various organizations involved (Oil21 from Berlin, Alternative Law Forum, Bangalore, and three organizations from Bombay: Majlis, Point of View and ChitraKarKhana/CAMP) came together to conceptualize pad.ma. In its one year of making, pad.ma has already included over 150 \"events\" from Majlis's Godaam archive, Chitrakarkhana's collection of micro media and other contributions including that of Point of View, Alternative Law Forum and footage by filmmakers such at T. Jayashree and Saeed Mirza. Shaina said that the main reason for this day was to get a sense of how people from different disciplinary backgrounds from film makers to artists, and scholars to activists could use pad.ma to explore the relationship between text and image, to examine the possibilities that it opens up, and also to look at the blurring lines between those who produce images, those who interpret it, and those who are supposed to consume it.\n\n The first presentation of the day was made by Aagaz, a voluntary youth group from PremNagar, Meghwadi and Sanjay Nagar bastis of Jogeshwari. Members of Aagaz including Shaali Shaikh, Durga Gudillu and Ismail Sharif spoke about the recent use of video in their work. About 15 hours of footage from their video project Ek Dozen Pani was collaboratively annotated to describe some relationships between infrastructure, water and the city. While infrastructure is hyper visible in most cities in diverse forms, from the rapidly changing built environment to decaying pipes from which water leaks to poorer neighborhoods, the members of Aagaz used the layers of annotation in pad.ma to go deep into their own histories of how infrastructure gets to be made and unmade in urban experience. <a href=\"http://pad.ma/find?l=Lj\">http://pad.ma/find?l=Lj</a>\n\n Sanjay Kak spoke about his own relationship to found footage after the experience of making the film Jashn-e-Azadi, and he was invited to write over a two-hour long tape of found footage, \"Flight over the CFL\". In what can only be described as an ethnography of a media event, Sanjay Kak's reading of this film opens out for us the historical and analytical possibilities that lie in material which may seem completely ordinary and uneventful. Combining the skills of a film maker with that of the historian, Sanjay's contemporatry reading of the material opened out ways in which we can think the relationship between events, fragmentary material and contested political histories <a href=\"http://pad.ma/Vg92c17o/info\">http://pad.ma/Vg92c17o/info</a>\n\n Priya Sen, a film maker from Delhi revisited a film that she had made six years ago,\"The Knower of Secrets\" about Qawwali singers in Hazrat Nizamuddin. In her annotations, Priya looked at what it would mean to capture the experience of the film maker in the making of the film, an experience which is never exhausted by the end product that emerges in the form of the finished film. Her annotation moves between the personal, the affective, the theoretical and the analytical. On Pad.ma, the knower of secrets emerges as a text which opens out to different registers of experience and reflection which were not immediately available at the time of the making, or viewing, the film. <a href=\"http://pad.ma/Vu5mgs8w/info\">http://pad.ma/Vu5mgs8w/info</a>\n\n Nida Ghouse's presentation raised the critical question of the difference between seeing an image, reading an image and understanding the experience of pad.ma which attempts to bring text and image together. Nida located the development of the various versions of pad.ma and its implications for newer forms of reading that are made available. Finally, Nida looked at the idea of the electronic archive not just as an archeological site for data mining, but also as a construction site of ideas and possibilities.\n\n Sebastian L\u00c3\u00bctgert and Jan Gerber made 10 remarks about video and the internet, balancing between the exhilaration about video on the net and the material realities of low bandwidth. They distinguished between open source as a 'cool attitude' and openness as a form of practice that constantly requires interventions that reframes the ways we think of our own practices. They also argued that licenses are 'real', in that issues of format of videos, inter-operability etc are all affected by proprietary licenses and the future of video on the net is also an issue about closed or open systems.\n\n Kaushik Bhowmick was invited by pad.ma to be a guest annotator, and Kaushik took up the challenge by trawling through the archive and selecting ten events. But rather than choosing to annotate them through information or analysis of the events (which ranged from bar dancers to the item song in hindi films to the \"lumpen audience\"), Kaushik chose to read and write across them. Drawing from mythology and film theory, Kaushik chose to make poetic connections across images. Arguing that film eventually relies on the production of sensibilities, Kaushik's annotations sought to capture feelings and layers of the videos, and the ways they spoke to each other. <a href=\"http://pad.ma/Vejbx6uz/00:02:54.000\">http://pad.ma/Vejbx6uz/00:02:54.000</a>\n\n\n Desire Machine Collective from Guwahati chose to focus on the idea of the North East as it emerges in popular discourse and in the news media. They curated a set of items which provided a name and place to the idea of the north east. In their curation they sought to raise the question of how an idea like the Northeast comes into being, where it finds form in media discourse, and also ways in which a counter archive that displaces one central idea of the north east could emerge. They chose to work with one segment of a film Tango Charlie and its hugely stereotypical image of the north east and contrasted this with videos that looked at the Bnei Menashe, the lost tribes of Israel from Mizoram. ( http://pad.ma/find?l=Ll)\n\n\n Lawrence Liang made a presentation on the relationship between the image, politics and the distribution of the sensible. Drawing form Jacques Ranciere, Lawrence argued that politics was already aesthetics, in that ideas of the political often draw from sensorial metaphors such as visibility and invisibility, and politics may consist of interruptions/interventions in the distribution of the sensible, which modify the aesthetico-political field. He tried to link this to an understanding of the political which is not dependent on a pre-determined political field, but which is open to redefinition through a reversal of assumptions of social roles. In the case of pad.ma, the blurring of the lines between image makers and image \"readers\" would constitute such an aesthetic-political interruption.\n\n Ayisha Abraham who has made a film Straight 8 using found footage chose to look at rare films made on Ram Gopal, a dancer who became famous in the mid-twentieth century. Using the footage of Ram Gopal that had been shot by an amateur film maker Tom D'Aguiar, perhaps the only existing fragment of moving image of Ram, Ayesha posed questions about the relationship between the materiality of film, the role of archives and the reconstruction of histories through them. <a href=\"http://pad.ma/Vsnjewdj/info\">http://pad.ma/Vsnjewdj/info</a>\n\n Ranu Ghosh has been working on the changing urban landscape of Kolkata, looking at the emergence of new high rise apartments against the decaying landscape of factories that have shut down. In her presentation she spoke about the South City project which has emerged on the lands of the Usha sewing machine factory. She showed a film that documents struggle of an individual against the acquisition of his housing quarters, he was given a camera to document what was happening, since there are no visitors allowed inside the premises. <a href =\"http://pad.ma/Vfsgvjes/info\">http://pad.ma/Vfsgvjes/info</a>\n\n Nilanjan Bhattacharya has been working on questions of traditional knowledge and biodiversity. He presented an interview with Madhav Gadgil and related Prof. Gadgils view points on rituals and superstitions and myths as essential to the maintaining of sacred forests and knowledge systems through footage from his older films that included exampled of buddhist, hindu and animist rituals. <a href=\"http://pad.ma/Vs6e8x5j/00:13:51.000\">http://pad.ma/Vs6e8x5j/00:13:51.000</a>\n\n\n Sadanand Menon showcased two films on the dancer Chandralekha. The first was part of a program made for a cultural show on Doordarshan, and the only footage available of it is the versions recorded from television. In an example of how text/image and histories (personal and public) interact, Sadanand's annotations on the Tanabana program take us through an intimate journey with Chandralekha. Moments that would otherwise be missed (a dog passing by, Chandra making rangoli), if we were just watching the film, are re-read by Sadanand to create a shared space where we begin to understand Chandra's philosophy of creativity and the body.\n\n Ghar Bachao, Ghar Banao Andolan is an organization that has been working on housing rights, particularly against corporate privatization. They took an existing footage in pad.ma \"A Day in the Life of Niranjan Hiranandani\" and re-read it against information that they have been collection for a few years (through the use of RTI as well as investigative journalism). The grandiose vision of Hiranandani's construction business is read against the material conditions of housing for the poor, while his statements of corporate responsibility are read against the corrupt practices prevalent in the real estate industry, for example. In a playful manner, GBGB fills in certain narrative of images through sharp political satire. <a href=\"http://pad.ma/Vtowua9j/L2kv9\">http://pad.ma/Vtowua9j/L2kv9</a>\n\n\n\n\n",
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"title": "Pirate Cinema 7",
"header": "<div style=\"text-align: center;\"><span style=\"color: orange;\">End of the Winter Season</span><br />\n Sunday, February 15<br />\n 7 pm - 10 pm<br /> <a href=\"../campstudio.html\">CAMP rooftop</a>.</div>",
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"shortname": "wharfage",
"title": "Wharfage",
"header": "<br />At first, a project on the creek in Sharjah, from where a large number of ships leave for ports in Somalia.<br /><br />",
"body": "This arrow of trade (in which Foucault's heterotopic ship is not an escape from but an entry into the space of\nconflict) became our subject.&nbsp; It offers an opportunity to think about how the \"business of business\" in this context may be better than the business of war, and how a \"free port\" created in Somalia by the lack of a customs regime, mirrored by Sharjahs' \"cheap port\", produces a \"free trade\" not governed by the WTO.&nbsp; With conflict up ahead and economic crisis at its tail\n(and pirates in the middle), this movement of goods and their sailors may\ntrace old trade routes, but maps out something new: a contemporary landscape of new and used\nobjects, labour, charcoal (the only bulk item on the return journey), Asian and African diasporas, and giant wooden ships being built in Salaya, Gujarat. <br /><br />\nThe project consists of two parallel pieces: Wharfage, a book containing two years of port records related to the Somali trade;&nbsp; <br />and Radio Meena, four evenings of radio transmissions from the port in Sharjah, which broadcast in a 5+ kilometre radius songs, commentary, phone and ship radio conversations with ships in Salaya, in Bossaso and enroute, accounts from Gujarati sailors, loaders from Dera Gazi Khan and NWFP in Pakistan, Sikh truckers, Iranian shopkeepers, Somali trading agents. All of whom spoke hindustani (hindi+urdu) as a common language of the port. <br /><br />The project is ongoing, video material and annotations from a recent trip to Salaya is here: <br /><a href=\"http://pad.ma/Vgtkm4q1\">http://pad.ma/Vgtkm4q1</a><br /><br />Wharfage is a CAMP project invited by the 9th Sharjah Biennial, 2009.<br />As part of the program \"Past of the Coming Days\", <br />curated by Tarek Abou el Fetouh. <br /><br /><br /><br />CREDITS:<br /><br /><span style=\"color: orange;\">In Sharjah:</span><br />Production: Amna Ali Abdulla and Mohamed Tohami.<br /><br />Data Entry and Translation: Khalid Abdul Khaleq Abdulla, Mohammed Al Ahdal<br />Mohammed Al Shaibani, Hala Al Hedeithy, Omar Arif, Alaa Edriss, Sameh Ghassan, Nada Al Jasmi, Khalid Mezaina, Noaf Yusif.<br /><br />Manifests and port records: <br />\nwith the cooperation of Jarsh Mohammed Jarsh, Ahmed Mohammed Iqbal, Esam Eisa Al Hashmi, Jamal\nAhmed Abdalla Al Shaikh,&nbsp; Abdul Rahman Saeed Bughanim, Ahmed Abdul\nRahma, Ahmed Abdul Bughanim, Eisa Khalifa Bin Qasmoul, Majid Rahma Al\nShamsi, Hamad Sultan Abu Shibs, Muneer Mukilapeedikayil from the Department of Seaport and Customs (Sharjah Creek Customs).<br /><br /> \n\n<span style=\"color: orange;\">From CAMP: </span><br />Research and interviews: Shaina Anand, Nida Ghouse, Hakimuddin Liliyawala, Ashok Sukumaran, Samira Nadkarni. <br />Database Software: Sanjay Bhangar.<br />Texts: Ashok Sukumaran, Nida Ghouse, Shaina Anand. <br />Photographs:&nbsp; Nida Ghouse, Hakimuddin Liliyawala , Shaina Anand (Sharjah), Samira Nadkarni (Salaya).<br />Copy Editing: Zinnia Ambarpardiwala, Samira Nadkarni.<br /><br />Book Editors: Shaina Anand, Nida Ghouse, Ashok Sukumaran. <br /><br />Book design: Europa, London.<br />Printed at: Spenta Multimedia, Bombay. <br /><br />\n<span style=\"color: orange;\">This publication accompanies Radio Meena (100.3 FM), four days of radio broadcasts on the Sharjah Creek:</span><br /><br />Radio Sound Engineer: Shuaib P. <br />Radio Voice / RJ: Ryan D' Souza, Hakimuddin Lillyawala. <br /><br />\n\n<span style=\"color: orange;\">With many thanks to:</span><br /> Muhammad Rafiq and crew on M.S.V. Nazre Karam.<br />Abdul Rashid Bhaya, Adam Noor Mohammed Bhaya, Adam Bhaya, Gafur, Zubair, Abu Bakar, Ali and rest of the crew on M.S.V. Faize Sultane Khwaja.<br />Ibrahim bhai, Hamid bhai, Bashir Uthad, Osman and rest of the crew on M.S.V. Ghoushe Vashila<br />Akbar bhai on M.S.V. Madina Zulficar, Hussain Bhaya on M.S.V. Al Bismillah, Eesa Ali bhai on M.S.V. Ratna Sagar, Siddique Umar and Junis on M.S.V. Sabir Priya. <br />Mohammed Abdul Qadir and his father Abdul Qadir from Al Tayseer Shipping Company. <br />Mohammed Salat, Yusuf, Farrah and other&nbsp; Somali Traders. <br />Saad Samir, Jack Persekian, Lara Khaldi, Khalid Mezaina, Noura Randle, Maya Nasser and Sevdar Khan at the Sharjah Biennial. <br />Mia Frostner and Paul Tisdell at Europa, London. <br />Catalina Lozano and Anna Colin at Gasworks, London.<br />Janna Graham at Serpentine Gallery, London.<br />Rob la Frenais and Gillean Dickie at Arts Catalyst, London. <br /> Rishita Chandra and Minoo Davar at Spenta Multimedia Production, Mumbai.<br />Jan Gerber and Sebastian L\u00c3\u00bctgert at Pirate Cinema, Berlin. <br /><br />",
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"shortname": "road",
"title": "The Road to Aesthetics",
"header": "<h4 style=\"font-weight: normal;\">28th March 2009 <br />3 to 6 pm. </h4>\n<p>A discussion with and presentations by Robert Sember, (Ultra-red), Florian Schneider (Kein.org), Graham Harwood (MediaShed), Ashok Sukumaran (CAMP) <br /></p>\n<p>Organised by Shaina Anand. <br /></p>\n\n\n\n<br />Gasworks<br />\n\n155 Vauxhall Street <br />\n\nLondon SE11 5RH \n",
"body": "<h2 style=\"font-weight: normal; font-family: arial;\"><font size=\"2\"><em>Recently, I appear to be surrounded by various people: activists,\nlawyers, software programmers, architects, academics, filmmakers,\norganisers and producers who have had a recent and intense engagement\nwith the practices and institutions of art. They now make shifting\nclaims on this profession, more often than not hesitating to call\nthemselves artists, often leaving the decision on frameworks for their\nparticipation to their promoters and curators. We are now familiar with\nsome of the effects and forms of this ambivalence. But here we are\ninterested in looking at specific personal trajectories, to make the\nquestion of aesthetics more felt, and less of a paradigm with \"the\npolitical\". </em><br /><br />\n-Shaina Anand<br /><br />\nGasworks invites you to an afternoon of artists presentations. Our\nparticipants develop and present a chronology (their own timelines) and\njourney through their own work and pasts, to reveal an arc of their\nengagement with, and expectations from, certain forms of art. But also,\nto speak about a passion and ability for aesthetic engagement framed as\na personal enterprise, curiosity, and encounter.</font>\n\n</h2>\n",
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"title": "Sharjah Biennial",
"header": "<span style=\"color: white;\">CAMP </span>was awarded the main Jury prize at the 9th Sharjah Biennial for <a href=\"http://camputer.org/event.php?id=77\">Wharfage</a>, a two-part project including a book and a radio transmission. ",
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"title": "The Neighbour",
"header": "<span style=\"color: black;\"><span style=\"color: white;\">AshokS</span> </span>shows The Neighbour at p3, a large underground space opposite Baker Street tube station, London. The exhibition is on until April 9, 2009.<br />",
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"title": "Info-Activism Camp",
"header": "SanjayB presented <a href=\"http://pad.ma\">Pad.ma</a> at Info-activism Camp in Bangalore, February 2009. ",
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"shortname": "edgwarerd",
"title": "Edgware Road",
"header": "CAMP is working on the Edgware road, a mixed Middle-Eastern, Asian and African neighbourhood in central London. Working with shops/ cafes and cybercafes, the project will produce a monthly online \"cultural publication\" and associated print material. More details by April 10, 2009. <br />",
"body": "<br />This is a CAMP project invited by the Serpentine Gallery Public Program<br />&nbsp;and Janna Graham (project curator, member Ultra-red). <br /><br />Notes:<br /><br />1. The Edgware Road Action Plan attached to the right was abandoned in late 2008, due to lack of funding. <br />\n",
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"title": "Motornama Roshanara",
"header": "<br />A ride through the&nbsp; industrial district around Roshanara road, Delhi. <br />We come across various sites and histories of the \"industrial age\" in the city,&nbsp; and its related narratives of automation, pollution, labour and closure. &nbsp;<br />The tour is on cycle-rickshaws, with ricksha-wallas as narrators and guides.<br />",
"body": "Sites visited include houses in the shadow of the new metro, a hundred year-old ice factory, a car-cover karkhana, a derelict cinema, motor repair and reboring shops, a printing press transported from lahore, a famous clock-tower, amongst others.&nbsp; <br /><br />Roshanara road was till about 20 years ago the centre of the industrial city of Delhi, with Transport Nagar, the old Grand Trunk road, Sabzi Mandi, the Beej (seed) Market and related infrastructure all crowded around it. Old residents claim that it was not only Asia's largest engine repair market, but also an upper-class hangout with Palace Cinema and restaurants and other markets flourishing. <br />In a series of court-initiated \"anti-pollution\" drives in 1996 and 2000, Roshanara road's small and large industries were forced out of spaces they had been occupying since partition. As transport technology also changed, the repair industries could not compete effectively with new imported cars, authorised dealers and so on. In effect, the \"motor\" of industrial progress was moved out of the city, or moved past this sector in other ways. <br /><br />Cycle rickshaws have survived this history. Not in a sense that they emerged victorious, but in that despite court orders (there is an ongoing Supreme court case on their licensing, the culmination of a long period of litigation), police brutality and resistance from resident associations, their numbers in the city have grown from about 20,000 in the early 1980's to more than 900,000 today. The vast majority of pullers live on the street, or in \"informal\" situations in front of shuttered shops, in side-lanes, etc. Recently, cycle-rikshaws have found favour with green groups and the eco-lobby, as a \"non-polluting\" form of transport. This discourse largely does not include considerations of where rickshawallas will live, their health and other needs, etc. <br />Our project then entered this historical and regulatory landscape, and offered members of the public: both locals and visitors, a tour of this landscape of lost punjabi confidence, old machines, labour, bodily risk and local histories.<br /><br />We worked with about 25 rickshawallas who lived in and around the Beej market, Roshanara Road, for over two months. Workshops and meeting were held in the Roshanara Garden and other locations in the area. <br /><br style=\"color: orange;\" /><span style=\"color: orange;\">\n\nSee Tour Route and Credits tab for more. \n\n</span>",
"schedule": "Roshanara Motornama tour guides: <br />Rajesh, Raju, Lalji, Ajay kumar,\nDinesh, Saddam, Ranjit, Rakesh, Tirloki, Durga Prasad, Nankhe, Panna\nLal, Ramesh, Ram Bahadur. Vijay Kumar Misra. Akhilesh, Ram Surat, Ram\nSajiwan, Ram Sajan, Raj Kumar, Suresh Kumar, Anil Kumar, Dharam Raj, Nihroo. <br /><br />Theatre workshops: M. Azam Quadri with assistance by Ankur Taneja. <br />Production: Kuldeep Singh Chauhan<br />Motornama logo design: Studio Chalk<br />Legal research: Mehak Sethi<br /><br />Special thanks to Mahmood Farooqui, Vijay Kumar Misra, Akhilesh and Laljee. <br />Thanks also to: Hirawal, Manisha Shetty, Kajal Bharadwaj. <br />From 48 degrees C thanks to: Pooja Sood, Gayatri Uppal, Manoj VP and Manjari. Gada and Siddharth. &nbsp; <br />In\nRoshanara: Harjeet Singh, Amit Mehta at Next Generation Graphics, Sunil\nAnand at Sri Laxmi letter press, NK Sawhney at Delhi Flour mill,\nSiddharth Dhaba, Guards at Palace cinema, Crown Motors, Gurudev's tea\nstall. <br /><br />Roshanara Motornama was part of 48 degrees C - held in New Delhi, December 12 to 21 2008. Curated by Pooja Sood. Organised by the Goethe Institut, Delhi. <br /><br style=\"color: blue;\" /><span style=\"color: blue;\">A project by Shaina Anand and Ashok Sukumaran</span><br />",
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"opttext2": "<span style=\"color: blue;\">Roshanara Motornama Tour stops</span>.<br /><br />1. <span style=\"color: orange;\">Pul Bangash metro station.</span><br />(audio track - intro by Vijay Kumar Misra, metro security announcements and outro)<br /><br />2. Back lane to view buildings still standing but cut in half by the metro project, opposite to a <span style=\"color: orange;\">threading factory</span> inside a house. Most small scale factories were closed down in the MCD sealing drive of 2006. Few survive inside residential premises.<br /><br />3. Exit lane and turn into another lane passing motor shops to<span style=\"color: orange;\"> Roshanara Mansion</span>, old colonial residential quarters. Visit an abandoned stone house now re-occupied by relatives from Bikaner who make car covers. (audio track- <span style=\"font-style: italic;\">kaun si disha </span>from film <span style=\"font-style: italic;\">nadiya ke paar</span>)<br /><br />4. Stop at the <span style=\"color: orange;\">Motor (head) repair shops</span> in the lane on way out.<br /><br />5. View <span style=\"color: orange;\">Palace cinema</span> from the gate, watch a video of projection motor under the banyan tree with commentary by the cigarete stand, Mochi and watchman. Palace cinema was asias largest seater (800) when it was build in the 40's, it was also the first to get a liscence under the new Republic of India in 1948. It has been lying closed for 8 years due to family dispute.<br /><br />6. Stop at the Factory gate of the <span style=\"color: orange;\">Delhi Flour Mill</span>, which is fully functioning. It is the only mill left in this area, as is it supposedly non-polluting.<br /><br />7. View Flour Mill video at <span style=\"color: orange;\">Siddharth Dhabha</span>.<br /><br />8. Head into <span style=\"color: orange;\">Indra Beej (seed) Market.</span> (audio track: <span style=\"font-style: italic;\">Babu Samjho ishare</span> from film <span style=\"font-style: italic;\">Chalti ka naam gaadi</span>). This stop was optional, and depended how much engagement&nbsp; the rickshawala had with his travellers. This is where a lot of rickshaw drivers live, their trunks hidden under the platform of the seed shops.<br /><br />9. OR into the opposite lane to stop at their hang-out: <span style=\"color: orange;\">Gurudevs Chai stall</span>, where there is time to talk more over tea and snacks.<br /><br />10. To the <span style=\"color: orange;\">Baraf Khana</span> (ice factory) -established in 1907 down Grand Trunk road. <br /><br />11. Up <span style=\"color: orange;\">Grand Trunk Road </span>past Robin Cinema and old Sabzi Mandi (audio track- <span style=\"color: orange;\">Lalji aur Lali</span>, monologue by Lalji followed by + <span style=\"font-style: italic;\">zara halke gaadi haako</span> a Kabir bhajan sung by Prahlad Singh Tipania in Malwa folk style)<br /><br />12. A quiet stop at the <span style=\"color: orange;\">Ghanta Ghar</span> (clock tower). (audio track-<span style=\"font-style: italic;\"> Samay ka Paiya</span>- wheels of time by Patna based cultural group, Hirawal)<br /><br />12. <span style=\"color: orange;\">Crown Motors. </span><br /><br />13. <span style=\"color: orange;\">Sri Laxmi Printing Press</span>, a motorised and fully functional letterpress from 1893, brought from Lahore in 1947.<br /><br />14. Drop off at <span style=\"color: orange;\">Roshanara Garden</span>, with rickshawalas final statements.<br />",
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"shortname": "serpentine",
"title": "Serpentine walk through",
"header": "ShainaA and AshokS walk through the Indian Highway exhibition and discuss some of the video material that has had second or third lives... 21st Feb, 2009<br />",
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"title": "Edgware Road:Findings",
"header": "Edgware Road: Findings.<br />An evening of sound and images from the Edgware road. <br /><br />Saturday, 18 April<br />6pm-Midnight<br /><br />at the new<br />Centre for Possible Studies<br />14 Porchester Place, W2 2BS (off Kendal Street)<br />London<br /><br />(this is an invitee-only event)<br />",
"body": "Shaina, Ashok, Amal and Janna would like to invite you to spend an\nevening with us, and view some materials from our recent research on\nthe commercial and cultural landscape of the Edgware Road. We have been\ncollecting a lot of&nbsp; stories and \"evidence\" around the deep changes\nthis street has seen in the past century, including at the Old English\nGentleman (for a century known as King's Head, now lebanese-owned, 132 edgware road)\nand the Shishawy restaurant (formerly Gala Royal cinema, then Arabic\nCentre, Arrimal nightclub, Hilal House and Miramar, 51-53 edgware\nroad). <br /><br />These fragments mark the beginning of a web-based and printing project by the\nBombay-based artists group CAMP, as part of the Edgware Road Project: a\nSerpentine Gallery initiative in collaboration with Ashkal Alwan \u00e2\u20ac\u201c The\nLebanese Association for Plastic Arts, Beirut, and Townhouse Gallery,\nCairo.<br /><br />with many thanks to:<br />Edgware Road Association, Al Arez staff, Shishawy staff, <br />and the many people in the neighbourhood who have already been generous with their time and timelines. <br />",
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"shortname": "camp_soc",
"title": "CAMP Monsoon of Code",
"header": "Over the next 4 months, CAMP will begin working on a number of coding / website projects. For all of these, we invite collaborations, and programmers looking for challenging contexts. <br />The projects include,\nbut are not limited to:<br />",
"body": "&nbsp;\n1&gt; India Theatre Forum: Working with Prithvi Theatre and the\nIndia Theatre Forum, the endeavour is to create a network / platform\nfor theatre professionals across the country. Alongwith aiming to\nre-evaluate a number <span class=\"il\">of</span> 'web 2.0', and 'social\nnetworking' features, the challenge is to translate these concepts into\npractical and usable frame-works. This will include experimenting with\nSMS and phone-based communication. Technologies we we will use are\nPython, Django - Pinax, jQuery / Javascript, and SMS.<br /><br />&nbsp; 2&gt; Edgware Road.&nbsp; A website that organises ongoing research via its backend, and then publishes quarterly a set of\n\"documents\", which are produced and edited by people on the Edgware Road, a\nmixed arab/iranian/kurdish/asian/other neighbourhood in london. The\nwebsite also is an experiment with online layouting/ design, and \"print from web\"\ntechnologies for things like posters, printed placemats and a magazine. <br /><br />\n&nbsp; 3&gt; Working with architects and researchers from CRIT (<a href=\"http://crit.org.in/\" target=\"_blank\">http://crit.org.in</a>),\nthis project will put online, in its first phase, detailed data\ncollected by CRIT for the Vasai-Virar region in Mumbai - heritage\nstructures, ecological zones, village boundaries, roads, etc. In it's\nsecond phase, if all goes well, the interface would be extended to be a\npublic interface for all <span class=\"il\">of</span> Mumbai. Technologies we would be working with include Python, Geodjango, PostGIS and OpenLayers.<br /><br />\n&nbsp; 4&gt; Inventory: Over the years, CAMPers have accumulated a lot <span class=\"il\">of</span> stuff- kilometres <span class=\"il\">of</span> cable, tiny connectors <span class=\"il\">of</span> all sorts, microcontrollers, audio, video and projection equipment, bookshelves about art, programming, film, hundreds <span class=\"il\">of</span> DV tapes, terabytes <span class=\"il\">of</span> data on hard-drives... This project is, first, to index this range <span class=\"il\">of</span>\n'things' into a common searchable database, so we don't spend half our\nlives looking for things :-). Second, it is to explore ways in which\nthis index and its material can be presented as a public \"library\", in\nwhich a number <span class=\"il\">of</span> forms <span class=\"il\">of</span>\ndistribution may be possible: exchange, lending, copying, buying, etc.&nbsp; Further, to explore similar possibilities for other people /\ngroups with collections <span class=\"il\">of</span> material, of any type. The Internet <span class=\"il\">of</span> Things, revisited. <br />\n<div><br />\n</div>\n\n<div>&nbsp;</div>\n",
"schedule": "We are using bzr (bazaar) as our versioning tool.<br /><br />You can get the code at http://code.camputer.org<br /><br />(more details and random notes soon ... )<br />",
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"shortname": "roof",
"title": "CAMP roof",
"header": "Ashok and Azeer spent some time thinking about and building the CAMP terrace roof structure, built in late 2009. Some of the designs that were sketched out are further below: a big requirement was some retractability, i.e. the ability to have a shading roof in the day but to have it open/ partially open at night, for things like screenings under the stars. <br />",
"body": "<br /><img src=\"images/09.jpg\" alt=\"\" />\n<br />\n<br /><img src=\"images/03.jpg\" alt=\"\" /><br /><br /><br />\n\n<span style=\"font-weight: bold;\">A Note on the Roof. </span><br style=\"font-weight: bold;\" /><br />One of the things I miss most in current architecture and its practice is \"nerdiness\".&nbsp; <br />Nerdiness is a quality found often in architecture students: in obsessive and unbuildable 3d-models, or in deadly-serious engagements with hypothetical classroom projects, for example.&nbsp; It is found in the attention to, and obsession with, strange parts and wholes: not only instrumentally in the service of a overall structure or message, and also not only pursuing the dictum that \"God is in the Details\" (a quote usually attributed to Mies, which must surely be a major source of anxiety for young architects, for who wants to miss god). Nerdiness is instead the condition of being invested, interested in the varied and murky levels, floors, and false ceilings of the architectural project. <br /><br />For me a lack of nerdiness is rampant- in the non-construction of small and big nerdy projects, in missing architectural nerdy-movements and discourses, absent nerdy journalism, and so on.&nbsp; Meta-discourses of \"the city\" and spatial politics could also benefit from nerdiness I think, firstly as a way to acknowledge the consequences and contingency of *construction* itself. Because construction has a way of creating its own world, in which things lean on each other, money is spent, screws hold on tight, the wind whistles, and new spaces are born. <br /><br />The following is a nerdy description of a small architectural project we did last year, a folding shade-roof at CAMP. The below is with many thanks to my fully nerdy collaborator on the project, Azeer Attari.<br /><br />The roof terrace outside our studio is roughly an 9m X 9m square. A major reason for this roof project was to provide us a shaded daytime work-space, since we were running out of space in our small studio. We wanted do this light-footedly, to not disturb the building's waterproofing or Society, and to be removable if need be (we rent this space). The other big part of the \"brief\" was for the roof to not be permanently blocking the sun and the sky, and to be somehow exciting. The original set of sketches of four possible solutions are below. <br /><br />There are only two primary forms of architecture, Dave Hickey writes, quoting Morris Lapidus: the corral and the souk. These derive from two primal uses: protection or enclosure inside a corral's walls, and business or social transactions conducted under the tents of the souk, open sideways but \"hidden from God\". On our terrace we had also two, somewhat inverted, functions:&nbsp; a) to provide some privacy during our public screenings, in which nudity, blasphemous and \"offensive\" material could easily be found. And b) to provide a shaded area, for people working on computers, having meetings, smoking, etc. These were the basic imagined functions of our proposed roof structure, a structure that would give us some \"breathing room\", a backdrop, as well as a ceiling.&nbsp; <br /><br />In architecture college, I had developed an interest in a family of lightweight structures known as \"tensegrity\" structures. One of the reasons for this interest was that unlike brick and cement structures these could actually be built and tested by ourselves, using fabric and rope or wire. Models would scale-up effectively, and this was a fast and cheap way of erecting shelters and temporary roofs. They were also challenging, and beautiful structures.<br />The basic concept of a tensegrity structure is that there is only tension and compression at play, no bending. That is, all the forces within the structure are resolved such that no element of it has to take bending load, which is the kind of load that any rigid horizontal element such as a beam or a floor slab usually has to take. Since fabric by definition cannot take any bending load (it bends freely) the fabric part of the tensegrity structure bends into a shape where bending forces are eliminated, and only tension remains. The compression is usually taken by struts or rods made of solid material, but these are also ideally not being bent, only being compressed.&nbsp; Some of this can be seen in the sketch below. <br />\n\n<br /><img src=\"images/SPAtent.jpg\" alt=\"\" /><br />\n\n\n<br />This&nbsp;above is sketch of a simple tensegrity structure I and some others built in the winter of 1996 on the SPA Delhi planning campus water tank. (The tank is a raised platform only a few feet off the ground). The kinky detail in it was that the central compression \"members\" (such as they are called) were made from tubelights.&nbsp; That is, the gas-filled glass tubes of used tubelights stored nearby. Maybe we were trying to make a point.&nbsp; &nbsp;<br /><br />The structure was built overnight, to host one part of a year-long student protest at SPA. This was the \"chain hunger strike\" part, which came shortly after the part in which the director declared the institution closed \"sine die\" i.e., indefinitely. (Later it came to be known that the terms of the \"chain hunger strike\" were quite practical: you could go have your breakfast, then sit here till its time for your lunch, at which point someone else would take over. Such pragmatics were deemed necessary, for our strike to be indefinite). Nevertheless, there was a seriousness and energy in the strike itself, whose longer story must be told another day. But suffice it to say here that the pink-roofed magically-floating tent played a certain role in the dramas of that week. <br /><br />The reason why tensegrity roofs haven't taken off worldwide, has partly to do with a problem as old as Archimedes. Or rather his lever, which could move the world if only it found a place outside it to use as a fulcrum. Think of a campsite with many old-style tents.&nbsp; Each tent has a set of \"guy ropes\" which extend far beyond the \"carpet area\" of the tent itself, and are tied to stakes driven into the ground.&nbsp; Now imagine a tent-city, with support-wires criss crossing the sky and ground. Individual property deeds in this city would have to commit to not only floor area and further-building rights but also \"pressure rights\" wherein other people could squeeze, or pull at, your property. You could be charged rent for \"causing tension\" to someone else, with a premium in the monsoons. &nbsp;<br /><br />Cable providers in our neighbourhood (specifically overhead cable-layers for TV and internet services) have to negotiate actual conditions similar to my caricature above. Hanging cable systems are tensile systems. The cable bends so that the tensile forces in the curved cable suffice to pull the cable up. Negotiating the attachment points of cables is a urban-morphological, material, network-architectural and micro-political problem. Through it, one can approach other phenomena such as why several building chowkidars who turn on water pumps are also part-employed by cable companies. Or, why rubber balls with nylon string attached are sometimes found hanging from nearby trees. &nbsp;<br /><br />In contrast, architectural tensile structures commonly seen today are safely contained in larger spaces such as malls and airports, such as <a href=\"http://www.flickr.com/photos/dgcreativity/2347298829/\">Mumbai's</a>. Many of these are centrally-supported umbrella-tensiles rather than edge-supported spans. In this sense, they are conservative tensile structures. <br /><br />For various reasons related to the above, our attempt at creating a pure tensegrity structure failed. We didnt want central columns in the space, and there were no available external points to attach to. We didnt want to put major point loads onto an agreeable neighbours window grill, for example, lest on a windy day, the neighbour becomes grill-less. Building other attachment points onto nearby buildings was not feasible, or would involve financial transactions that no one knew how to measure. One possibility was to make the structure smaller than the terrace, but for us to maximise the terrace's use, that wasnt ideal either. <br />In the end, we needed a relatively free-standing structure that didnt have central columns to interrupt the screen, and which would also fold away, and be entirely removable. We needed a levitating carpet!<br /><br />The roof that was designed and built is seen below. The key points of the structure are that:<br />a)&nbsp; The weight of the outward-leaning bamboo and steel structure helps to tension the fabric. <br />b)&nbsp; The structure rotates on an axis perpendicular to the tensioning. This means that there is plenty of bending going on, but that the twin-bamboo columns take most of that load. <br />d) The roof is double-hinged, such that it rotates both as the base and top of the column, moving both *away* and *down* when being folded. <br />f)&nbsp; Despite the continuous tension, two people can slide the roof into either of its two states.<br /><br />\n\n<video src=\"resources/camp_roof.ogv\" controls=\"controls\" width=\"500\"></video> <br /> <br />\n\nThese videos and many of the pics were taken in late February 2010. The roof I would say was a qualified success. It didnt suffer from major problems (yes, quite a few minor ones), and has kept the terrace in shade for several months through spring. The terrace felt quite different, and was used more. Before considering what could be better about the roof, lets have a brief look at its materials. <br /><br />The fabric is an agri shade net, and at Rs.5/- a sq. foot is a material cheaper than tarpaulin, cheaper than cotton, and cheaper than a sheet of mineral water 1 cm. deep. The 90% version is able to block out about 80% of sunlight, and is used often for cattle or poultry sheds. One problem, as we found out ultimately, is that the remaining 20% can be felt, in hard sunlight. The net was chosen also because a solid fabric would have had too much wind load, especially while being turned. The roof spans were stitched together using a regular sewing machine, to a full 9 metres by 4.3 metres wide. The edges are reinforced with galvanised steel wire.<br /><br />The roof fabric is screwed onto bamboo beams 4.5 metres long. Bamboo can last 2 years or more, depending on insects and microbe growth. Sharif Shaikh, our nerdy carpenter, had experience with bamboo from his village near Howrah, where bamboo is used for roofing beams. On the further advice of architect and friend Rittick Hazarika, the bamboo ends were strengthened with 6-inch deep wooden plugs, inserted and glued into the hollow ends. This was crucial for the bamboo to keep its shape, and for screwability. The double-bamboo \"columns\" were placed into metal pipe \"feet\" that were part of prefabricated metal bases. The bases provided a rock-solid bottom hinge, and also a big enough weight that the connections to the floor could be quite shallow. <br />As for the \"active\" part: the Maruti hinge gets its name from a car's \"hatchback\" piston. It is the thing that lifts the back \"dicky\" and makes it seem lighter than it is. Each of the four columns in our roof used at 25kg-rated maruti hinge, now a standard hardware accessory in the market, used for lifting shelf doors. The pistons help lift the roof up, and keeps the bar horizontal. These continue to work rather well. <br />When open (in wall mode) the roof bamboo ends slide into 8-inch deep steel pipe cups at knee level. <br /><br />The roof cost about Rs.35,000/- (800 usd) and about two weeks to build, although longer to design. Most of the cost was for the steel hinge details, which have a long life. When the roof is reinstalled after the monsoons, we will change a few things:<br />a) The bottom hinge locking detail was just a set of wooden wedges, which didnt work so well. That meant that we had quite a few cases of the roof opening or closing on its own, in high wind. <br />b) There should be a way to tension the fabric, as it slowly expands over time. This was meant to be there in the original design as a cable and \n<a href=\"http://www.caspiotrade.com/turnbuckle.htm\">turnbuckle </a>at each column, but was never implemented because there wasn't enough scope for\n tensioning in that setup. This is a problem that will have to \nresolved in another way.&nbsp; <br />c) Roof fabric should be protected from one concrete column where it rubs and the fabric was holed. <br />d) Even more starlit screenings will be planned. <br /><br /><br />The roof marked and sheltered a space, whose possibility of being used as a daily work space and occasional public space was explored. Such spaces are rare in our city.&nbsp; The roof became one element of the constellation that is CAMP. Keeping the sun at bay and the neighbouring kids out of <a href=\"http://0xdb.org/0315594\">Girls of Kamare</a> are<span style=\"font-style: italic;\"> in the same way</span> a part of the survival of this institution as our cultural values, balance sheets, and emancipatory politics. This is what the roof is \"good for\"; beyond this lies its own autonomy, and between these lies the territory that future versions of the roof could build upon. <br /><br /><br />Ashok Sukumaran<br />July 2010 <br /><br /> <br />\nPhoto credits: Jan Gerber, Shaina Anand, Eric Stein<br />",
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"model": "content.content",
"pk": 92,
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"type": 0,
"shortname": "mozcamp",
"title": "MozCamp Mumbai",
"header": "CAMP co-organised an event to celebrate the release of Firefox 3.5 and talk about web standards. Details of the event are on its <a href=\"http://mozcamp.in/mumbai\">wiki page</a>. You can see the entire video of the event at <a href=\"http://pad.ma/Vsmpvstz/info\">http://pad.ma/Vsmpvstz/info</a><br />",
"body": "Longer report coming soon .. for now, you can enjoy video of the entire event:<br /><br />Introduction to event:<br /><a href=\"http://pad.ma/Vsmpvstz/0:00:00.000\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/0:00:00.000</a><br /><br />Arun's video for MCM:<br /><a href=\"http://pad.ma/Vsmpvstz/0:01:32.639\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/0:01:32.639</a><br /><br />Sanjay and Baishampayan Ghose's session on HTML 5:<br /><a href=\"http://pad.ma/Vsmpvstz/0:20:45.000\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/0:20:45.000</a><br /><br />Dipen's session on the Geo Location API in Firefox:<br /><a href=\"http://pad.ma/Vsmpvstz/1:02:19.639\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/1:02:19.639</a><br /><br />Kunal and Raza's session on the Offline API in Firefox:<br /><a href=\"http://pad.ma/Vsmpvstz/1:20:36.479\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/1:20:36.479</a><br /><br />Krishnakant Mane's session on the Orca screen reader and accessibility in Firefox:<br /><a href=\"http://pad.ma/Vsmpvstz/1:37:12.500\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/1:37:12.500</a><br /><br />Sanjay's session on pad.ma, Firefogg and &lt;video&gt;:<br /><a href=\"http://pad.ma/Vsmpvstz/1:57:20.000\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/1:57:20.000</a><br /><br />Aamod's session on promoting Firefox and MozHunt Mumbai:<br /><a href=\"http://pad.ma/Vsmpvstz/2:11:15.719\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/2:11:15.719</a><br /><br />Winding up, collecting goodies:)<br /><a href=\"http://pad.ma/Vsmpvstz/2:21:10.839\" rel=\"nofollow\">http://pad.ma/Vsmpvstz/2:21:10.839</a><br />",
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"shortname": "park night",
"title": "Park Nights: Edgware Road",
"header": "CAMP is co-curating an evening at the Serpentine Gallery, as part of its \"Park Nights\" program. Videos and drawings from our ongoing work on the Edgware Road project. <br /><br />Friday, September 11, 2009<br />\nSerpentine Gallery<br />\nLondon<br />",
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"shortname": "paani",
"title": "Paani Panel",
"header": "EK DOZEN PAANI - Screening<br />NGMA, Mumbai<br />5:00 pm<br />28th June, 2009<br /><br />To be followed by a discussion with filmmakers,&nbsp;Durga Gudilu, Govindi Gudilu and Ismail&nbsp;Sharif.<br /><br />As part of <span style=\"font-style: italic;\">The State of Urban Water</span>. <br />A day-long engagement by PUKAR in collaboration with SOAK<br />Organised by Nikhil Anand.<br /><br />",
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"schedule": "<span><font size=\"3\"><span style=\"font-size: 11px;\"><b><span style=\"white-space: pre;\"></span></b></span></font></span><span style=\"border-collapse: separate; color: rgb(0, 0, 0); font-family: arial; font-size: 12px; font-style: normal; font-variant: normal; font-weight: bold; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;\"><span style=\"border-collapse: separate; color: rgb(0, 0, 0); font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;\"></span></span><span><font size=\"3\"><span style=\"font-size: 11px;\"><b><br /></b></span></font></span>",
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{
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"pk": 95,
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"shortname": "padma delhi",
"title": "Pad.ma at the British Council Library, Delhi",
"header": "The pad.ma archive will be showing as a multi-terminal installation / exhibition in this library in Delhi. <br /><br />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">Venue:</span><br />\n\nBritish Council Library, <br />\n\n17, Kasturba Gandhi Marg, <br />\n\nNew Delhi- 110001<br />\n<br />\n<span style=\"color: orange;\">Open Times:</span><br />\n10:00 am to 10:00 pm<br />\nFriday and Saturday, <br />\nAugust 21 and 22, 2009<br /></div>\n",
"body": "<br />\n<br />\n",
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{
"model": "content.content",
"pk": 96,
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"shortname": "nine mores",
"title": "CAMP at the India Art Summit",
"header": "<div style=\"text-align: center;\"><span style=\"color: orange;\">Nine Mores</span><br />A \"Lecture Performance\" by CAMP.<br /></div><br />Culture erupts in forms, big and small, of exuberance and expenditure. Art is the \"profit\" or value that occurs when the sum-total of these outward, dissipative, luxurious forces is greater than the inward-pulling logic of nationalisms, identities, collections, or&nbsp; the self-gravity of artists and institutions. CAMP presents a set of expansions on this statement, via an illustrated history of expansion, dissipation, generosity and waste. <br /><br /><br />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">6:30 pm, <br />Friday, 21 August 2009</span><br />\nAuditorium, Level 1, Hall 8<br />Pragati Maidan<br />New Delhi<br /></div>",
"body": "<br />\nThe idea of expenditure is part of culture-at-large, in which art is no\ndifferent from say fireworks or children's toys or weddings or arson.\nExpenditure extracts itself from the cycle of production, to release\nresources, with or without returns, with or without justification, as\nan act of freedom.&nbsp; Expenditure then unleashes a set of forces within a\nspace, with complex and indeterminate effects, enveloping\nparticipants and spectators. Expenditure involves risks, and the\npossibility of entanglements: of being trapped in a death-cycle of the\nlarger and larger gifts of potlatch, of getting caught up in religious\nfervour, of ending in frustrated or willful destruction.<br />\n<br />\nArt has a peculiar capacity to inform the politics of such\nexpenditure, and to understand its\nmanifestations: generosity, waste, and power. <br />\n<br />\nArt is the art of liberating expenditure, by exceeding, ignoring or\nexhausting its ideologies, by threatening its controlled and ritualised\nplaces with new sites of release. By becoming more than ordinary\nexpenditure, by overflowing its social mores. By expending immediately\nand incrementally rather than by accumulating indefinitely. By\nexploiting technological systems to multiply and intensify the acts of\nrelease. Or radically, by spending what one does not have, by\ndistributing what one does not possess.<br />\n<br />\nThe Nine Mores are presented as a set of four pairs and a final (unreturnable) act. <br /><br />(The relation with Bataille is one of debt, shared laughter, but doubts\nabout nihilism. The difference is that our ideas here don't rely on a\nfundamental, metaphysical excess)<br /><br />",
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{
"model": "content.content",
"pk": 97,
"fields": {
"type": 5,
"shortname": "patronage",
"title": "On Patronage",
"header": "<font size=\"2\">A research project, a series of interviews/conversations on \nthe shifting nature of patronage in the arts. To show that patronage is a construction, and that its historical conditions are not inevitable, in the future. <br />If this is a slippery terrain full of oblique agendas, this is hardly unique to patronage alone. It is instructive and interesting, we think, to see some of the ways in which patrons, artists and institutions have leveraged their relative positions in the past. And how recently, new strategic, accidental as well as politically imaginative responses to the question of patronage can be seen gathering on all sides of the production of art.<br /></font>",
"body": "<font size=\"2\">The project explores linkages between both capital and art historical or ideological categories (how did \"social\nrealists\" or \"community-based\" artists respond to its challenges?),\nas well as the current landscape of relations (from\nabstinence to creative resistance to \"collaboration\") visible between\nartists and available capital of various types.&nbsp; <br /><br /></font>Researcher Nida Ghouse has conducted interviews with:<br /><br />In Mumbai<br />Navjot Altaf&nbsp; (artist)<br />Sunil Shanbag&nbsp; (theatre director)<br />Jitish Kallat&nbsp; (artist)<br />Chandita Mukherjee (director, COMET Media Foundation)<br />Mortimer Chaterjee&nbsp; (gallerist, C&amp;L gallery)<br />Shireen Gandhy (gallerist, Chemould)<br />Bose Krishnamchari (artist)<br />Sharmila Samant&nbsp; (artist)<br />Sudhir Patwardhan (artist)<br />Tejal Shah&nbsp; (artist)<br />Nikhil Chopra&nbsp; (artist)<br />Himanshu S&nbsp; (artist)<br />Zasha Colah&nbsp; (curator)<br />Kaushik Bhaumik&nbsp; (OSIANs)<br />&nbsp;<br />in Delhi<br />Deepti Mulgund&nbsp; (curator, Devi Art Foundation)<br />Geeta Kapur&nbsp; (art historian)<br />Kavita Singh&nbsp; (art historian)<br />Peter Nagy&nbsp; (gallerist, Nature Morte)<br />Vidya Shivdas&nbsp; (curator, Vadhera gallery)<br />Vivan Sundaram (artist)<br />Inder Salim&nbsp; (artist)<br />&nbsp;<br />and Ashok Sukumaran had conducted interviews in Bangalore with:<br /><br />Christoph Storz (Bar1)<br />Archana Prasad (Jaaga)<br />Suresh Kumar G. (Samuha, initiator)<br />Suresh Jayaram (1 Shanthi Road)<br /><br />Transcripts of interviews are in progress, and will be available on this page when done.&nbsp; <br />",
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"type": 5,
"shortname": "neighbour1",
"title": " Al jaar qabla al daar (The neighbour before the house)",
"header": "\u00d8\u00a7\u00d9\u201e\u00d8\u00ac\u00d8\u00a7\u00d8\u00b1 \u00d9\u201a\u00d8\u00a8\u00d9\u201e \u00d8\u00a7\u00d9\u201e\u00d8\u00af\u00d8\u00a7\u00d8\u00b1 <br /><br />\u00e2\u20ac\u0153The <span class=\"il\">Neighbour</span>\nbefore the House\u00e2\u20ac\u009d is a series of video probes into the landscape of East\nJerusalem. Shot with a security camera, these images show that before and after&nbsp; instrumental \"surveillance\", there is inquisitiveness, jest,\nmemory, desire and doubt that pervades the project of watching. In these specific times and places, camera movements and live commentary become ways in which Palestinian residents evaluate what can be seen, and speak about the nature\nof their distance from others. <br />\n",
"body": "<span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">A text by Florian Schneider:</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">CAMP</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">Al Jaar Qabla al Daar&nbsp;</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">(The Neighbour before the House)</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">When the Israeli government demolished the Moroccan Quarter in 1967, it was the fifth and smallest of old Jerusalem's neighbourhoods. Private property was converted into public space: the former Moroccan Quarter is now a large open plaza leading up to the Western Wall, in use as an open-air synagogue.</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \"></span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">At first glance, the idea of a neighbourhood appears as the most obvious contradiction to the series of displacements, deferrals, distortions and fault lines existing on the surface of this highly volatile, contested and segmented city.&nbsp;&nbsp;</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \"></span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">Neighbours are supposed to know each other. The neighbourhood is that part of the otherwise anonymous cityscape, where one is recognised, or where the subject is hailed. Neighbours can encounter each other without technical mediation; they meet and greet face to face, everything is within walking distance.&nbsp; Such a more or less homogenous local environment is ruled by specific circumstances that are characterised precisely by the fact that they are not globally valid, that are not exchangeable or even communicable. It is grounded in the production of a self that claims the right to the given territory: to be exactly and exclusively here, often as a result of ownership or property.</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \"></span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">But this idealised notion of a setting and the staging for the production of&nbsp; \u00e2\u20ac\u02dceveryday life\u00e2\u20ac\u2122 on the threshold of public and private space, needs to be governed by an archaic rule that prevents the self from selfishness: watch out for the neighbour and \"love him or her as yourself!\" The Golden Rule of ethical reciprocity and fair play \u00e2\u20ac\u201c -doing as one would be done by \u00e2\u20ac\u201c treats the neighbour as the \"other\", who then becomes universal. The homogenisation of a local environment as a \u00e2\u20ac\u02dcneighbourhood\u00e2\u20ac\u2122 then correlates with the moral purification of a community, a people, or humankind.</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \"></span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">What we can see in the video project Al Jaar Qabla al Daar, is a neighbourhood in a state of permanent crisis. Spatial proximity does not produce any sense of community, but does the opposite. What was private space becomes public; what was private life becomes political.&nbsp;</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \"></span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">Al Jaar Qabla Al Daar&nbsp; sets out to reverse engineer&nbsp; the neighbourhood as a machine for self-monitoring and surveillance, one that normally turns contingency into consistency and the visible into the sensible.&nbsp; Here the neighbourhood can only be encountered through a technological device that produces closeness and remoteness, which would otherwise remain entirely abstract. The constant zooming in and zooming out of the camera constitutes a rather peculiar artificiality of the picture: operational by a factor X that multiplies the amount of detailed information at the price of context. This is a regime of visibility that promises to provide access to what would otherwise, and in the true sense of the word, be inaccessible, since one would not be allowed to go there, or know how to understand what is going on.</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \"></span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">The results are profane and deconsecrated icons that map lost properties as robbed and removed social relationships. And this is everything but self-explanatory: one needs a speech that goes against the grain of the all too obvious status quo. A speech that reads out the secrets of dispossession and renders every property decipherable as an appropriation; that is twisted and oblique, but nevertheless takes place in the first person.&nbsp;&nbsp;</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \"></span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">It is the iconic quality of the pictures, their status as operational images, that marks the impossibility to make \"a film\" in the first place.&nbsp; The neighbourhood is scattered and inaccessible, the neighbour is turning out to be&nbsp; a monster. Going beyond the technical misuse of surveillance technologies, the filming methods open up to new potentials: a house becomes a support for a camera, a sort of tripod built from stones. The petrified position of the camera only allows movements on a fragile surface of the image. It is not possible to change the perspective and switch from one self to another.</span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \"></span><br style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; \" /><span style=\"color: rgb(102, 51, 0); font-family: Georgia, 'Times New Roman', Times, serif; font-size: 13px; text-align: justify; background-color: rgb(255, 255, 255); \">There is an unforeseeable and incalculable quality of the material itself: the self-centeredness of the picture does not pretend to include or exclude anything or anyone; it can be virtually anywhere. It opens up a third realm that is neither subjective nor objective, a space which may be characterised by a new, radical form of hospitality that could allow us to escape the discourses of property, security and paranoia.</span>",
"schedule": "A first edited collection of footage from the project was exhibited at the Jerusalem Show, Jerusalem/ Al Quds in October 2009.&nbsp;<br /><br />Project credits:&nbsp;<br /><br />for CAMP,&nbsp;<br />Shaina Anand,&nbsp;<span class=\"il\">Nida</span>&nbsp;Ghouse, Ashok Sukumaran&nbsp;<br />with Mahmoud Jiddah, Shereen Barakat and Mahasen Nasser-Eldin<br /><br />Curated by Jack Persekian and Nina Montmann<br />Produced with the support of Al Mamal Foundation for Contemporary Art, Jerusalem.&nbsp;<br /><br />Many thanks to : Abu Hassan, Ashraf Bakri, Darwish Kurd, Hovsep Nalbandian, Maali Adris, and Mohamed Saleh, Khadijeh Kanambo and Jumana Aboud for invaluable help with their time, technical resources, and spirit.&nbsp;",
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"header": "\u00d8\u00a7\u00d9\u201e\u00d8\u00ac\u00d8\u00a7\u00d8\u00b1 \u00d9\u201a\u00d8\u00a8\u00d9\u201e \u00d8\u00a7\u00d9\u201e\u00d8\u00af\u00d8\u00a7\u00d8\u00b1 (Al jaar qabla al dar) The neighbour before the house <br /><br />A new project by CAMP <br />at the Jerusalem Show<br />October 11 to October 20<br />6pm - 9 pm<br />\nPadico Center <br />Old City, Jerusalem<br /><br />",
"body": "Curated by Jack Persekian and Nina Montmann<br />For project documentation: <br /><a href=\"http://camputer.org/event.php?id=98\">http://camputer.org/event.php?id=98</a><br /><br />",
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"title": "Screening: The neighbour before the house ",
"header": "\u00d8\u00a7\u00d9\u201e\u00d8\u00ac\u00d8\u00a7\u00d8\u00b1 \u00d9\u201a\u00d8\u00a8\u00d9\u201e \u00d8\u00a7\u00d9\u201e\u00d8\u00af\u00d8\u00a7\u00d8\u00b1 (Al jaar qabla al dar) <br /><br />Screening of CAMP's Jerusalem project, followed by a talk.<br />at <br /><span style=\"color: orange;\">The International Academy of Art Palestine. </span><br style=\"color: orange;\" /><span style=\"color: orange;\">Ramallah </span><br style=\"color: orange;\" /><span style=\"color: orange;\">October 15 2009 </span><br style=\"color: orange;\" /><span style=\"color: orange;\">7:30 - 9:30 pm </span><br />",
"body": "Shaina Anand and Nida Ghouse discuss the project, moderated by Nina Montmann.<br /><br />For Project documentation: <br />http://camputer.org/event.php?id=98<br />",
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"title": "Cinema weekends at Winter CAMP rooftop",
"header": "To the right are the listings of the film screenings held every weekend on CAMP's roof during January and February, hosted by Pirate Cinema Berlin.&nbsp; <br />More to come next winter, when CAMP gets a brand new roof and makes a brand new cinema;) <br />",
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"title": "Cinema weekends at Winter CAMP rooftop",
"header": "Listings of the film screenings held every weekend on CAMP's roof during January and February, hosted by Pirate Cinema Berlin.&nbsp; <br />\nMore to come next winter, when CAMP gets a brand new roof and makes a brand new cinema;) <br />\n<br />\n",
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"header": "Presenting four projects CAMP has been doing this past year, away from home-base in Bombay. The presentations are in sets of two, setting up some relationships between them, and between \"local\" contexts, whether in Gujarat or Palestine. These projects took place in Sharjah, Delhi, Jerusalem, and London.&nbsp; All of them are ongoing, in different ways, and part of our aim here is to show why, and to share our future plans. <br /><br /><span style=\"color: orange;\">Saturday and Sunday, January 30-31, 2010</span><br />6:30 pm. sharp <br />at <a href=\"http://camputer.org/campstudio.html\">CAMP studio. </a><br /><br />",
"body": "<br />Day ONE, January 30, 2009. 6:30- 9:30 pm. <br /><br /><span style=\"font-weight: bold;\">1.&nbsp; Wharfage:</span><br /><br />A book, and a radio event, on a port. <br /><br />Perpendicular to the concept and the reality of Somali \"piracy\" is the back-and-forth movement of oversized wooden ships between the UAE and various ports in Somalia. These ships carry daily goods, dentists chairs, baby clothes, macaroni, cars and a thousand other things, as \"break-bulk\" cargo. On the way back, they are either empty, or they carry charcoal. Somalia is a magnet for such trade despite, and partly due to its internal wars, where competing \"semi-states\" do not impose a conventional customs regime. In this sense, Kismayo, Berbera, Bossaso and Mogadishu are \"free ports\", connecting overland to Kenya and Ethiopia, producing a mirror of the Dubai and Sharjah \"duty-free\", as well as of Free Trade Zones being set up in other countries. Clearly, these operations of Somali ports are crucial to the daily lives of a large number of people living in conflict. The majority of the boats and their crews, we find, come from twin towns in Gujarat: Mandvi Salaya and Jam Salaya, which have been building wooden dhows, and sailing the Arabian sea, for centuries. <br /><br />Invited by the Sharjah biennale, CAMP undertook reasearch that, instead of \"mapping\" this movement in a conventional sense,&nbsp; paid close attention to the peculiar conditions at Sharjah creek. Here Gujarati crews, Iranian shopkeepers, loaders from Dera Ghazi Khan in Sindh and Sikh truckers were talking to each other in a common language: Hindustani. Also here, in the throes of the economic crisis, brisk business was being conducted. Around the same time, the Dubai dhow port announced plans to stop international dhow traffic, citing security fears and also problems with implementing UN sanctions on Iran. <br /><br />The project then evolved in two ways: <br />1. We obtained 15 months of customs records of all traffic and goods going to Somalia and coming back. This data, translated from arabic and organized using a custom-built web application, was printed with essays and other accounts, as a book. <br />&nbsp;&nbsp;&nbsp; (download book in .pdf format&nbsp; <a href=\"http://camputer.org/resources/wharfage.pdf%20\">http://camputer.org/resources/wharfage.pdf </a>) <br /><br />2. We did four days of FM radio transmissions from the docked MSV Nazre Karam, which brought many of the people working in and around the port (upto 5km) into a rare \"free zone\" of expressivity, music, and reception. <br />&nbsp;<br />Wharfage won the jury award at the Sharjah Biennale 2009.<br />Later this year we have initiated research trips to Salaya, have ongoing conversations with shippies and scholars working on sea trade, and are planning the next phase of the project. This will include a new mulitlingual publication, and a new manifestation, for which preliminary approaches will be discussed. <br /><br />The presentation includes:<br /><br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp;&nbsp; The port, the people, the states. The \"goods themselves\". The list/database as form.<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp;&nbsp; Scenes from the radio event. Radio lessons: from restrictions to \"permissions\", and back.<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Images and findings from two recent visits to Jam Salaya. <br /><br />&nbsp; 60 minutes, followed by discussion. <br /><br /><span style=\"font-weight: bold;\">2.&nbsp; Motornama Roshanara. </span><br /><br />If you got off the metro at Pulbangash station in early December 2008, you could find a rickshaw-walla who would take you on an hour-long trip through Roshanara Road, and the old Grand Trunk Road, with frequent detours to twelve or so sites of \"motor history\".&nbsp; These places included the metro wall where factories once thrived, a cotton mill in a house, the unused 800-seater Palace cinema, a dhaba outside Delhi flour mills, an ice-factory, a printing press, a clock-tower, still-surviving motor repair shops, and so on. Along the way, if you showed interest, a stop at the rickshaw-wallas \"home\" in one of the lanes of the seed market.&nbsp; <br /><br />There are an estimated 900,000 ricksha-wallas in Delhi, a number that has risen from barely 20,000 in the late 1970's. This curve overlaps another, differently-shaped one, of the growth and decline of the mechanised industries within the city. The 1996 and 2000/2001 \"pollution\" rulings and the 2006 \"sealing\" drive cumulatively ended the Roshanara area's golden period as a central transport hub, industrial and repair centre, and changed the neighbourhood and the confidence of its residents, enormously. The \"motor\" of capital has moved elsewhere. How has the rickshaw-wallas relationship to this environment changed, over the years?<br /><br />The new acceptance of rickshaws by courts, transport planners and environmental advocates as legitimate and \"non-polluting\", does not answer many of the questions by ricksha-wallas about where they can live, work and eat. About 20,000 in the Roshanara area alone come from one district, Gonda in UP.<br /><br />So it is not that the rickshaw has emerged plainly victorious over the displaced chakkis, pahiyas and bearings of modern transport and industry, and it is not that the newer migrants have overcome the enormous gulf between them and the residents (older migrants) of this part of Delhi. But there is a feeling of reduced distance, a sense of mutual fragility and shared futures, that this project tried to enter. <br /><br />&nbsp;The project involved 22 rickshaw-pullers,&nbsp; with whom we are planning a phase-two, which may result in a long-term presence in and around Pulbangash. This project was first presented as part of the 48C Public, Art, Ecology festival in Delhi.<br /><br />The presentation includes: <br />&nbsp;&nbsp;&nbsp; \u00e2\u20ac\u00a2&nbsp;&nbsp;&nbsp; Motornama Roshanara, a film on the tour. 50 min. <br />followed by discussion.<br /><br /><br />DAY TWO.&nbsp; January 31, 2009. 6:30- 9:30 pm. <br /><br /><span style=\"font-weight: bold;\">3. The Edgware Road project</span><br /><br />An archiving and \"printing\" project,&nbsp; based on work in Edgware Road, a predominantly Arab street in London. <br /><br />CAMP\nis involved in a 2-year web-based archiving and \"print-from-web\"\nproject, linked to its own investigation of landscapes of commerce and\npleasure in this part of London. CAMP had a \"main street\" approach here, because we felt that many of the tensions here around\nimmigration, identity and conflict with authorities were related to the\npull of entrepreneurial activities on the road, and the character of\nthe road itself.&nbsp; As part of the first \"block study\", we investigated\nseveral buildings and their ownership and use histories. <br />One story\nthat we present here is a chronology of 51-53 Edgware road, which used\nto be a newsreel theatre, and then the Gala Royal cinema, showing\n\"continental\" films and then adult films. In 1980 it was taken over by\nan Egyptian businessman (at a time when there was very little Arab\npresence) and converted into an Arabic Centre, which included at\nvarious times an Egyptian film club, the first Arabic video shop and\ndistribution label, belly dancing and music in the cinema hall, a\nlibrary, an Arabic newspaper store, a hair salon and an Arabic\nnightclub. The Centre had a brief life, but served as one of the\n\"orientation\" points for incoming Kuwaitis, Saudis, Iraqis and others,\nboth oil-rich and working-class.&nbsp; The story is, loosely speaking, a bit\nas if a Nigerian entrepreneur were to take over one of Mumbai's\ndecrepit single-screen cinemas, and turn it into a commercial centre\nfor \"African Culture\". This obviously leads to a whole range of\nconflicts and contradictions, which in the Edgware Road case, still\nresonate today. <br /><br />The web-based part of the project is\ncollecting information from various such \"studies\", conducted by us and\nothers, which then pass through an editorial committee formed with\npeople from the street, and are published in a number of physical forms.&nbsp;\nThis is an ongoing project, as part of the Serpentine Gallery's Public\nProgram.<br /><br />The presentation includes: <br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;The Arabic Centre, 1981- 1989. 30 minutes. <br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Glimpses from the website backend archive, editorial process, software.<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Discussion of forms of \"publication\": placemats, tabloid, video screenings. <br /><br /><span style=\"font-weight: bold;\">4. Al jaar qabla al daar </span>(the neighbour before the house):<br /><br />A CAMP project in Al-Quds/ Jerusalem. <br />\u00e2\u20ac\u0153The Neighbour before the House\u00e2\u20ac\u009d is a series of video probes into the\nlandscape of East Jerusalem. In seven different \"episodes\", residents\nview nearby archeological digs, their own recent homes, the wall, both\nnear and far settlement activity, and other mundane-seeming details of\nthe slow and deliberate occupation of East Jerusalem. Shot with a\nsecurity camera, these videos suggest that before and after\ninstrumental \"surveillance\", there is jest, memory, desire and fear\nthat pervades the project of watching. Especially here. <br />\nOften the images will lead the commentary. At other times, the\nnarrative spills out first, and the live commentator / camera operator\nseeks a nearby image that might speak for it. In this way, through the\nfilm, Palestinian residents evaluate what can be seen, and speak about\nthe nature of their distance from others.<br /><br />The presentation includes:&nbsp; <br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;A 35-minute film.<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp;&nbsp; Notes on the neighbourhoods of East Jerusalem: 20 mins.<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Discussion.<br /><br /><br />Invited respondents: Nancy Adajania, Kaushik Bhaumik, Shuddhabrata Sengupta, Nishant Shah.<br /><br /><br /><br />",
"schedule": "Day ONE, Saturday January 30, 2009. <br />6:30- 9:30 pm. <br /><br />1. Wharfage:<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp;&nbsp; The port, the people, the state. The \"goods themselves\". The list/database as form.<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp;&nbsp; Scenes from the radio event. Radio lessons: from restrictions to \"permissions\", and back.<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Images and findings from two recent visits to Jam Salaya. <br />&nbsp; 60 minutes, followed by discussion. <br /><br />2. Motornana Roshanara:<br />&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Motornama Roshanara, a film on the tour. 50 min. <br />followed by discussion. <br /><br /><br />Day TWO, Sunday January 31, 2009. <br />\n6:30- 9:30 pm.<br /><br />3. The Edgware Road Project:<br />\n&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;The Gala Royal and the Arabic Centre, 1961- 1989. 30 minutes. <br />\n&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Glimpses from the website backend archive, editorial process, software.<br />\n&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Discussion of forms of \"publication\": placemats, tabloid, video screenings. <br />\n<br />4. Al Jaar Qabla Al Daar (the Neighbour before the House):<br />\n&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;A 40-minute film.<br />\n&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp;&nbsp; Notes on the neighbourhoods of East Jerusalem: 20 mins.<br />\n&nbsp;&nbsp; &nbsp;\u00e2\u20ac\u00a2&nbsp;&nbsp; &nbsp;Discussion.<br /><br />Both events at <a href=\"http://camputer.org/campstudio.html\">CAMP</a>.<br /><br /><br />",
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"title": "Ambient Information Systems: Book Launch",
"header": "<div style=\"text-align: center;\"><br /></div>\n<div style=\"margin: 0px; text-align: center;\">LOVE, PIRACY AND THE OFFICE OF\nRELIGIOUS WEBLOG EXPANSION,&nbsp; <br />and screenings of the film FACELESS. <br /><br /><span style=\"color: orange;\">Tue 26 Jan 2010, 7:00 pm onwards.</span><br /></div>",
"body": "<div style=\"text-align: center;\"><br /></div>\n<div style=\"margin: 0px; text-align: center;\">19:00 <br />LOVE, PIRACY AND THE OFFICE OF RELIGIOUS WEBLOG EXPANSION</div>\n<div style=\"margin: 0px; min-height: 14px; text-align: center;\">-----&gt; <a href=\"http://www.ambienttv.net/content/?q=love\" target=\"_blank\">www.ambienttv.net/content/?q=<wbr>love</a><span> <br /></span></div>\n<div style=\"margin: 0px; text-align: center;\">followed by<span>&nbsp;</span></div>\n<div style=\"margin: 0px; min-height: 14px; text-align: center;\"><br /></div>\n<div style=\"margin: 0px; text-align: center;\">FACELESS<br />-----&gt; <a href=\"http://www.ambienttv.net/content/?q=faceless\" target=\"_blank\">www.ambienttv.net/content/?q=<wbr>faceless</a>&nbsp; <span></span><br /></div>\n<div style=\"text-align: center;\"><br /></div>\n<div style=\"margin: 0px; text-align: center;\">and finally a</div>\n<div style=\"margin: 0px; text-align: center;\">PARTY!</div>\n<div style=\"margin: 0px; text-align: center;\">where <span class=\"il\">Mukul</span> will be playing some music.<br />\n<div style=\"margin: 0px;\"><span></span><span><br />\n</span>\n<div style=\"margin: 0px;\">Directions:</div>\n</div>\n</div>\n<div style=\"margin: 0px;\">\n<div style=\"text-align: center;\">-----&gt; <a href=\"http://www.camputer.org/campstudio.html\" target=\"_blank\">www.camputer.org/campstudio.<wbr>html</a><span> </span><br /><span></span></div><span><br /></span></div>",
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"dateend": "2010-01-27",
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"shortname": "meetmoz",
"title": "Meet Mozilla @ CAMP",
"header": "Some folks from the <a href=\"http://www.mozilla.org/\" title=\"home of the Mozilla project.\">Mozilla</a> offices in Mountanview are coming to town and CAMP is happy to be hosting a dinner cum meetup event to discuss web standards, open video, and also demo <a href=\"http://pad.ma/\" title=\"Pad.ma - video archival using open video.\">pad.ma</a>.<br /><span style=\"color: orange;\">Do join us on Sunday, 21st February, 7pm onwards.</span><br />For more details and to RSVP attendance, please see our <a href=\"http://mozcamp.in/mumbai\" title=\"Event wiki\">wiki page</a>.<br />",
"body": "<p>Speakers: <br /><br /></p>\n<p>From Mozilla:<br /></p>\n<p>&nbsp; Ragavan - Works on Mozilla Labs, including JetPack, the identity \ninitiative, Weave, and other stuff.\n</p>\n<p>&nbsp; Seth, overseeing localization / translation projects at Mozilla.\n</p>\n<p>&nbsp; Arun, standards wonk + technology evangelist -- works on HTML5, \nWebApps, is the WebGL Chair, editor of FileAPI, etc.\n</p>\n<p><br /></p>\n<p>From the Pad.ma team:\n</p>\n<p>&nbsp; Jan - Firefogg, ffmpeg2theora, Ogg Theora developments.\n</p>\n<p>&nbsp; Sebastian - Javascript hacker, film-maker. <br /></p>\n<p>&nbsp; <br /></p>\n<p><br /></p>",
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"datestart": "2010-02-21",
"dateend": "2010-02-21",
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"pk": 107,
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"type": 2,
"shortname": "padhbcse",
"title": "Pad.ma @ HBCSE",
"header": "We will be doing a presentation of pad.ma at the Homi Bbhabha Centre for Science and Education on <br /><span style=\"color: orange;\">Tuesday, Feb. 23rd, 2010, 5pm onwards.</span><br />",
"body": "Pad.ma is a full featured video archival website started as a<br />\ncollaboration between a number of groups (<a href=\"http://pad.ma/about\" target=\"_blank\">http://pad.ma/about</a>). As a<br />\nsoftware project, the site uses completely open web and video<br />\ntechnologies, significantly, the open source Theora video codec. Pad.ma<br />\nhas pushed the boundaries of what is possible with video on the web -<br />\nbeing perhaps the first website to offer time-based annotations,<br />\nserver-side seeking to an arbitrary point in the video, partial clip<br />\ndownload, client-side video encoding through the Firefogg browser<br />\nplugin, alongwith full-text search through the video material.<br />\nJan, Sebastian and Sanjay will be talking on Pad.ma.<br />\n<br />\nFirefox does not need any Introduction. &nbsp;Mozilla Firefox is getting<br />\nready for the new Internet standard HTML 5, and the speakers from<br />\nMozilla Foundation will talk on what HTML5 means for the users and<br />\ndevelopers, what revolution is expected in terms of web applications.<br />\nSeth, Arun and Axel will be speaking from Mozilla Foundation.<br />\n<br />\nThe seminar will be informal and participants can interact with the<br />\nguest speakers. &nbsp;The meeting will conclude with a Tea/Coffee and snacks<br />\nat around 7pm.",
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"shortname": "dance",
"title": "Dance for Nothing and Running Commentary",
"header": "An evening of dance and dance videos, looking at contemporary choreography with Eszter Salamon. <br />\"Running Commentary\" occurs when people talk aloud about choreography as they watch it. <br /><br />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">Friday, March 5, 2010</span><br style=\"color: orange;\" /><span style=\"color: orange;\">6:30 pm onwards.</span><br /><a href=\"http://camputer.org/campstudio.html\">CAMP Roof</a><br /></div>",
"body": "<span style=\"font-style: italic;\"><br /></span>\n<div style=\"text-align: center;\"><span style=\"font-style: italic;\">Dance for Nothing</span><br /></div>\n<div style=\"text-align: center;\">after <span style=\"font-style: italic;\">Lecture on Nothing</span> by John Cage<br />Eszter Salamon<br />45 min.<br /><br />This music done by words is the departure point for Dance for Nothing. The<br />dancer performs Cage\u00e2\u20ac\u2122s original lecture and simultaneously dances with the aim<br />of producing a choreography of contingent movements.<br />\u00e2\u20ac\u0153Or again / it is like an / empty glass /<br />into which / at any moment / anything / may be poured.\"<br /><br />followed by dance videos with Running Commentary (concept by Bojana Cvejic).<br />Running Commentary is meant to set thoughts in motion and to develop a practice of talking about choreography or performance. <br />The videos are:<br /><br /><span style=\"font-style: italic;\">Self Unfinished</span> (1998) <br />by and with Xavier Le Roy <br />50 min.<br />\"For me it alternated variously as insect, martian, chicken, watering\ncan, caterpillar into pupa...<br />We must sit with our attention riveted, waiting for the next\nstirring. Like watching a spider or snail. The timing is exquisite..\" -Yvonne Rainer.<br /><br /><br /><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\"><span style=\"font-style: italic;\">Giszelle</span> (2001)</span></font>\n<div><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\"></span></font><span><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\">by Eszter Salamon and&nbsp;</span></font></span><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\">Xavier Le Roy&nbsp;<br /></span></font><span><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\">with </span></font></span><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\">Eszter Salamon&nbsp;<br /></span></font><span><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\">Music:</span></font></span><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\">&nbsp;Adolphe Adam&nbsp;</span></font><span><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\"><br /></span></font></span></div>\n<div><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\">28 min.<br /></span></font><span lang=\"EN-GB\"><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\"> Which borrows its title from the most famous romantic (and so-called feminist) ballet, \u00e2\u20ac\u0153Giselle\u00e2\u20ac\u009d. </span></font></span><br /><font face=\"Arial\" size=\"3\"><span style=\"font-size: 12px;\"><br /></span></font></div><br />Following classical dance studies at the National Academy of Dance in\nBudapest, <br />Eszter Salamon moves to France in 1992. <br />She spends the next years working in Paris and Berlin as an independent choreographer,\nworking with dancers such as Aranxta Martinez, partner Xavier Le Roy, her own\nmother and brother, as well as solo. <br />Her most recent solo production, <span style=\"font-style: italic;\">Dance\nfor Nothing</span>, is presented here in modified form. <br />\n<br /></div><br /><br />",
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"shortname": "navjot",
"title": "Kondagaon updates and Barakhamba road 2008-2010",
"header": "<br />Navjot Altaf presents aspects of her ongoing work in Bastar, and new work, including a two-phase video project on the Barakhamba Road in Delhi. <br />An informal evening with Navjot and friends on CAMP roof. <br /><br />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">Saturday, 20th March, 2010. </span><br style=\"color: orange;\" /><span style=\"color: orange;\">7:30 pm onwards. </span><br /><a href=\"http://camputer.org/campstudio.html\">CAMP Roof</a><br /></div>",
"body": "<br />Navjot Altaf has for many years sustained relationships\n with communities and individuals via&nbsp; her work. A singular figure in \nthe Indian art scene in this respect, she has also been one of the early\n adopters of video as a medium, alongside photography and her well-known\n work in sculpture and installations that traversed art/ craft \ndistinctions as well as author/ subject relations. <br />\n<br />For this evening presentation Navjot will lead us through an update \non Kondagaon, at the Bastar artists centre where \"no one taught anyone\",\n yet there have been many years of production, which now faces some \nchanged political realities. Then she discusses her newer work, such as \n\"Barakhamba 2010\", and \"Delhi Loves Me\", which she feels she has not \nreceived sufficient feedback on, despite their \"public\" nature. <br />\n<br />Shaina Anand, who has followed Navjot's work and interviewed her for the upcoming Khoj book, will moderate the discussion. <br /><font color=\"#888888\"><br clear=\"all\" /></font>",
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"shortname": "homework",
"title": "Pad.ma at Home Works, Beirut",
"header": "<b>Don't Wait for the Archive</b><br />Archiving practices and futures \nof the image. <br />A workshop and colloquium with <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a><br /><br />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">April 12 to April 24 2010</span><br style=\"color: orange;\" /><span style=\"color: orange;\">@ Home Works</span><br style=\"color: orange;\" /><span style=\"color: orange;\">Ashkal Alwan </span><br /><span style=\"color: orange;\">Beirut</span><br /></div>",
"body": "<br />\n\n<span style=\"font-weight: bold;\"></span>The workshop is proposed as a two-week period, more a\n time for production than an extended \"event\".&nbsp; It will \ninvolve working with materials from Beirut (the Cinemayat video \ncollection from 2006 is one starting point) which will be digitised and \nannotated through <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>. \nFurther, filmmakers, writers and researchers are invited to contribute\n materials, and to explore ways of writing across and through video \nmaterial. During Home Works, the <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>\n group and the Beirut participants will take part in a 5-hour \ncolloquium, which will present and discuss our findings. <br /><br style=\"color: orange;\" /><span style=\"color: orange;\">Workshop Dates: </span><br />April\n 12th to April 22nd<br />at Sanayeh Space <br /><br /><b>24 April, Saturday Pad.ma Colloquium</b> at Home Works V, 4:30 pm - 9:30 pm.<br /><br /><b style=\"color: blue;\">Pad.ma Team for workshop:</b><br /><br style=\"color: orange;\" /><b style=\"color: orange;\">Namita A. Malhotra</b>\n is a legal researcher and media practitioner with the Alternative Law \nForum (ALF) in Bangalore, India. She initiated the law, media and \ntechnology project in ALF. She has been writing on issues of censorship,\n open content, technology and pornography. She is currently working on a\n film on technology and sexuality, and a monograph for the Center of \nInternet and Society, Bangalore on historical and contemporary aspects \nof law, image and pornography. She has worked on the licensing and legal\n structure of the Pad.ma online archive. <br />\n\n<br /><b style=\"color: orange;\">Lawrence Liang </b>is one of the co \nfounders of Alternative Law \nForum (ALF), a collective of lawyers working on various socio-legal \nissues, from Bangalore. His primary areas of work have been around the \npolitics of intellectual property and culture and he has written and \nlectured extensively on the area. He works closely with Sarai, New Delhi\n and is currently writing a book on law, justice and cinema in India. An\n avid cinephile and collector, Lawrence has been interested in the \nfuture of the archive in the digital era, and has been closely involved \nwith the <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a> project. \nOccasionally, he has also moonlighted as an artist. &nbsp;<br />\n\n&nbsp;<br /><b style=\"color: orange;\">Jan Gerber</b> is an artist and software \ndeveloper from Berlin. \nHe develops internet platforms for the production and distribution of \nvideo material, such as v2v.cc, <a href=\"http://0xdb.org/\" target=\"_blank\">0xdb.org</a>, <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>,\n <a href=\"http://dictionaryofwar.org/\" target=\"_blank\">dictionaryofwar.org</a>.&nbsp;\n\n He has initiated research and public events on questions of \nintellectual property and piracy in projects such as Pirate Cinema (<a href=\"http://piratecinema.org/\" target=\"_blank\">piratecinema.org</a>) \nand\n The Oil of the 21st Century (<a href=\"http://oil21.org/\" target=\"_blank\">oil21.org</a>).\n He works on the free and open video codec Ogg Theora and related tools \nffmpeg2theora and Firefogg.<br />\n\n<br /><b><span style=\"color: orange;\">Sebastian L\u00c3\u00bctgert</span>,</b> \nartist, programmer, writer, co-founder of \nBootlab and Pirate Cinema, and lives and works in Berlin.&nbsp; He has \nco-initiated a number of projects on intellectual property, cinema and \nthe internet, including the cinema archive <a href=\"http://0xdb.org/\" target=\"_blank\">0xdb.org</a>, the Oil21.org project, and Pad.ma. <br />\n\n<br /><b><span style=\"color: orange;\">Sanjay Bhangar</span></b> is a \nwriter and software developer who lives in \nMumbai. He is a founder member of CAMP, and has been involved with the <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a> project since its \ninception. He is a big believer in the open-source software development \nmodel, and in new models of access that online archives can provide. He \nis currently working on a few web-based projects including a \nweb-to-print publishing platform, a resource site for theatre in India, \nand online mapping and indexing tools. <br />\n\n<br style=\"color: orange;\" /><b style=\"color: orange;\">Shaina Anand</b> is\n a filmmaker and artist, and a co-initiator of\n CAMP and Pad.ma.&nbsp; She has been working independently in film/video \nsince 1997. &nbsp;In 2001, she founded ChitraKarKhana, (<a href=\"http://chitrkarkhana.net/\" target=\"_blank\">http://chitrkarkhana.net</a>)\n &nbsp;a fully independent unit for experimental media. Her recent works \ncontinue to be informed by an interest in information politics, and by a\n critique of documentary film. Interventionist projects such as WICity \nTV (2005), Khirkeeyaan (2006), Cold Clinic (2008), and Al Jaar Qabla al \nDaar (2009) have created new assemblies from within the terrains of \noperation of contemporary media: television, cable TV, surveillance \ninfrastructures, video archives - towards further possibilities for the \nimage and narrative. <br />\n\n<b style=\"color: orange;\"><br />Ashok Sukumaran</b> is an artist whose \ninterests are in \narchaeologies of media, and in what haunts or underlies network forms \nand material distributions. Recent subjects in his work include urban \nwater, electricity, cycle rickshaws, sea trade, and \"the neighbour\".&nbsp; \nHis work takes the form of public projects, exhibitions, films, \nlectures, and long-term collaborations via CAMP, which he co-founded in \n2007.<br /><br />Hosted by Jadmur Collective, Sanayeh Space. <br /><br />\n\n<br />",
"schedule": "We invite you to <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>'s first major international workshop, a two-week engagement with people, images and archiving practices in Beirut. <br />\n<br /><b>Don't Wait for the Archive</b><br />Archiving practices and futures of the image. <br />A workshop and colloquium with <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a><br /><br />To\nnot wait for the archive is often a practical response to the fact that\nthere are missing or absent archives in many parts of the world. And to\nwait for the state archive, or to wait to<i> be archived</i>, is not a healthy option.<br />\n\n<br />Among the many metaphors for archives that trap time, we could count: the\narchive as a promised land that remains forever on the horizon, the\narchive as a crusty or aspirational monument to state heritage, or the\narchive as a fruit which ripens only to attract the market. But there\nare other metaphors too, which bring us to other possibilities. There is for example the very old idea of the archive as a\ngarden, in conflict with the idea of the archive as a forest, or as a\nfarm. Or the archive as a river, for instance, which accepts the\nstructure of the archive to be both directional and temporal, and which\ntakes into account phenomena like floods, sediments, leakage, boatmen,\ndriftwood and even drowning. To enter the archive mid-stream is exactly\nparallel to what the digital does, or is: neither the beginning nor the\nend of the archive, but the <i>in medias res</i> (in the middle of affairs) of contemporary archiving.&nbsp; <br />\n\n<br />This <b>10-day workshop,</b> with a team of artists, videomakers, writers, programmers and legal researchers who work on the <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>\nonline archive project, is designed to share the imaginations,\nanxieties, tools and materials that propel image-based archival\npractices towards their futures. It uses as a basis <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>'s\nexperience in working with video and the internet, but is interested in\nbroader questions around exhibition, distribution, property and\npolitics that face archival practices today. We hope to find something,\nin the density of contemporary experiences in Bombay, Bangalore,\nBerlin, Beirut or on the internet, that can lead us to a shared theory\nof the archive that goes beyond its dominant canons (Benjamin,\nFoucault, Derrida). <br />\n\n<br />The workshop is meant to be a time for production and discussion.\nIt is open to anyone who is interested, in writing about or\ncontributing video material.&nbsp; It will take place from<b> April 12- 22, in Sanayeh, 2 pm to 6 pm every day</b>, followed by evening screenings of \"Archive Cinema\", on alternate days. <br />\n<br />12 April: An extended Introduction to <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>. What we archive, why, and how, our experiences.<br />\n13 April: Internet and digital archives. Emerging questions of archivisation, auto-archiving, networks, labour, law.<br />14 April: Two parallel threads begin: <br />&nbsp;&nbsp;&nbsp; a) production around Beirut materials using <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>, starting with the Cinemayat collection.&nbsp; <br />\n\n&nbsp;&nbsp;&nbsp; b) conceptual stream around archiving and related questions, including but not limited to:<br />&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &gt; The future of the image, the past of the exhibition. <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &gt; Still / moving images. Proposals for a still-image archive. <br />\n\n&nbsp;&nbsp; &nbsp; &nbsp;&nbsp; &gt; Database aesthetics and politics. <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &gt; Technologies of the self / technologies of objects. <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &gt; Censorship, property, commons and other conflicts. <br />&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp; <br />17 April: Saturday, review of Beirut materials in <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>. <br />\n\n18 April: Sunday, Writer's day. <br />22 April: Workshop ends with a set of propositions, for ongoing archival practices in the region.&nbsp; <br /><br /><b>24 April: Saturday Colloquium</b> at Home Works V, 4:30 pm - 9:30 pm. <br />\n\n<br />We welcome participants who will come in on some days only, but to\ntake part in either of the two threads, or as a video contributor or\nwriter, you should register with us by emailing pad.ma@pad.ma.<br /><br style=\"color: orange;\" /><a style=\"color: orange;\" href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a><span style=\"color: orange;\"> Colloquium</span> :\n<span style=\"color: blue;\"> </span>24th April,&nbsp; 4:30 pm - 9:30 pm.<br /><br /><br />",
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"opttext2": "<pre>\nColloquim timetable and participants:\n\nA Colloquium with Pad.ma\n4:30 p,m Monnot Theatre\n_________\nIntroductions\n4:30 pm\n> Pad.ma as a Software project: Jan Gerber and Sebastian L\u00c3\u00bctgert. 20 mins\n4:50 pm\n> What pad.ma contains: Shaina Anand. 20 mins\n_____\n5:10 pm\nPad.ma Presentations:\n> Kristine Khouri, Mish Maoul! Documented Divorces and Imaginary Museums. 20 min.\n5:30 pm\n> Mirene Arsanios, Reading Marginalia. 15 min.\n5:45 pm\n> Basma Al Sharif: from We Began by Measuring Distance. 10 min.\n5:55 pm\n> Kaelen Wilson Goldie: A Few Questions: Everything around the X but the X. 20 min.\n\n6:15 pm\nDiscussion. 15 min.\n_____\nPad.ma Presentations:\n6:30 pm\n> Yasmine Eid Sabbagh, A Note from Burj Al Shamali Camp. 15 min.\n6:45 pm\n> Namita Malhotra, Images in Trouble. 20 min.\n7:05 pm\n> Omar Dewachi, On Trauma. 10 min.\n7:15 pm\nDiscussion. 15 minutes.\n___________________________________________________\nBreak (7:30 pm - 7:45 pm)\n\n7:45 pm\n> <a href=\"http://pad.ma/texts/10_Theses_on_the_Archive.html\" target= _blank>10 Theses on the Archive</a>. 30 mins.\nLawrence Liang, Ashok Sukumaran, Sebastian L\u00c3\u00bctgert.\n\nDiscussion. 15 mins\n_____\n8:30 pm\n> Bachir Saade, Hizbollah and the Politics of Remembering. 15 min.\n\nDiscussion. 10 mins.\n_____\nPad.ma Presentations:\n9:00 pm\n> Mansour Aziz. Cinemayat revisited. 10 min.\n9:10 pm\n> Abir Saksouk & Nadine Bekdache, Aita el'Chaab. 15 min.\n9:25pm\nAbed Kobeissi introduces\nSong excerpt from a Maroun Baghdadi film (Ya Ali, 1979)\nSouad Abdallah\nTowards a Home Works Academy archive\nClosing statements. List of pad.ma contributions from Beirut.\n\n</pre>",
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"shortname": "marchmeeting",
"title": "CAMP at March Meeting, Sharjah",
"header": "CAMP was invited to present its ongoing and upcoming projects at March Meeting, Sharjah. <br /><br />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">13th -15th March 2009 </span><br style=\"color: orange;\" /><span style=\"color: orange;\">Multaqa - Al Qasba </span><br style=\"color: orange;\" /><span style=\"color: orange;\">Sharjah </span><br /></div>",
"body": "Sebastian Luetgert and Shaina Anand presented Pad.ma on the 13th. <br /><br />Ashok Sukumaran, Shaina Anand and Nida Ghouse presented \"Projects on the Horizon\", future projects at CAMP on the 15th. <br /><br />Ashok, Shaina and Sebastian held a special session on Pad.ma at Shelter Maraya on the 15th. <br /><br />Check out <a href=\"http://pad.ma/newsletter\">http://pad.ma/newsletter </a><br />",
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"shortname": "padmatiss",
"title": "Pad.ma at TISS",
"header": "<div style=\"text-align: center;\">Pad.ma presentations and classroom workshop at TISS, Mumbai. <br />Date Change!<br /><span style=\"color: orange;\">Wednesday, July 21, 2010</span><br style=\"color: orange;\" /><span style=\"color: orange;\">Public presentation at Culture Cafe, 5:00 - 6:30 pm. </span><br /></div>",
"body": "Since its inception in early 2008, Pad.ma (Public Access Digital Media Archive, <a href=\"http://pad.ma/\" target=\"_blank\">http://pad.ma</a>)\n has proposed new relationships between video and text and a new context\n for &nbsp;viewing, annotating and conceiving moving images in relation to \nthe internet. Video footage that cannot fit the economy of films, that \nis left out in editing processes, or is lengthier than the usual online \nclip, all find a home in <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>. With deep annotations and full transcripts, videos in <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>\n acquire a context and seriousness that is often missing on video \nstreaming sites such as Youtube and Vimeo. Moreover, unlike \n\"distribution\" sites such as Culture Unplugged, the focus in <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a> is on the downloading, reuse and recirculation of video and related materials.&nbsp;\n<div><br /></div>\n<div>Pad.ma imagines itself not as a scene for \nredemption, nor as being limited to the traditional role of the archive,\n but as an active site of production. Indeed, why must we wait for an \narchive created by the state or civil society and not take up archiving \nourselves? As a public and shared archive, <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>\n hosts video collections by individuals and groups that record the \neveryday, local geographies, artistic expressions, people's movements, \ncities, and life itself.&nbsp;</div>\n<div><br /></div>\n<div>At Culture Cafe, the <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>\n team will talk about the archive's conceptual and technological \njourney, from its inception to the present. It will also reflect on new \nways of thinking about archives, video, text, code and the internet. \n(For bios of presenters, see below)</div>\n<div><br /></div>\n<div>The <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>\n project was initiated by a group consisting of Oil21, Berlin, the \nAlternative Law Forum, Bangalore, and Majlis, Point of View, and \nChitrakarkhana/ CAMP, Mumbai. <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a> was launched as a public website on February 16, 2009. For more, see: <a href=\"http://pad.ma/about\" target=\"_blank\">http://pad.ma/about</a>. &nbsp; &nbsp;</div>\n<div><br /></div>\n<div>Some readings around <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>: &nbsp;</div>\n<div>10 Theses on the Archive: <a href=\"http://pad.ma/texts/10_Theses_on_the_Archive.html\" target=\"_blank\">http://pad.ma/texts/10_Theses_<wbr>on_the_Archive.html</a></div>\n<div><a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>'s current newsletter: <a href=\"http://pad.ma/newsletter/2010-05-26.html\" target=\"_blank\">http://pad.ma/newsletter/2010-<wbr>05-26.html</a></div>\n<div>How to use <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a> guide: <a href=\"http://wiki.pad.ma/wiki/HowTo\" target=\"_blank\">http://wiki.pad.ma/wiki/HowTo</a></div>\n<div>&nbsp;&nbsp;&nbsp;</div>\n<div><a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a> team:</div>\n<div><br /></div>\n<div>Ashok\n Sukumaran is an artist whose interests are in archaeologies of media, \nand in what haunts or underlies network forms and material \ndistributions. Recent subjects in his work include urban water, \nelectricity, cycle rickshaws, sea trade, and \"the neighbour\". &nbsp;His work \ntakes the form of public projects, exhibitions, films, lectures, and \nlong-term collaborations via CAMP, which he co-founded in 2007.</div>\n<div><br /></div>\n<div>Sanjay Bhangar is a writer and software developer \nwho lives in Mumbai. He is a founder member of CAMP, and has been \ninvolved with the <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a> \nproject since its inception. He is a big believer in the open-source \nsoftware development model, and in new models of access that online \narchives can provide. He is currently working on a few web-based \nprojects including a web-to-print publishing platform, a resource site \nfor theatre in India, and online mapping and indexing tools.&nbsp;</div>\n<div><br /></div>\n<div>Shaina Anand a co-initiator of CAMP and Pad.ma. &nbsp;She\n has been working independently in film/video since 1997. &nbsp;In 2001, she \nfounded ChitraKarKhana, (<a href=\"http://chitrkarkhana.net/\" target=\"_blank\">http://chitrkarkhana.net</a>)\n &nbsp;a fully independent unit for experimental media. Her recent works \ncontinue to be informed by an interest in information politics, and by a\n critique of documentary film. Interventionist projects such as WICity \nTV (2005), Khirkeeyaan (2006), Cold Clinic (2008), and Al Jaar Qabla al \nDaar (2009) have created new assemblies from within the terrains of \noperation of contemporary media: television, cable TV, surveillance \ninfrastructures, video archives - towards further possibilities for the \nimage and narrative.&nbsp;</div>\n<div><br /></div>\n<div>Subuhi Jiwani is a writer and researcher based in \nMumbai. She has worked as a arts journalist and critic, and has written \nfor Time Out Mumbai, DNA, Hindustan Times, The Times of India, Art India\n magazine, Mayday magazine and World War 4 Report. She has contributed \nessays to art catalogues and most recently, the Sarai Reader. She is \ncurrently the Content Coordinator for <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a>.</div>\n<div><br /></div>Zinnia Ambapardiwala is a physics graduate, \ntrichologist, hairdresser, and system administrator. She is currently \nthe technical coordinator of Pad.ma.",
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"shortname": "application",
"title": "From Archive to Application (and Back)",
"header": "<br />\n<div style=\"text-align: center;\">Presentation / Open House<br /><span style=\"color: orange;\">Friday, 16th July, 6:30pm</span><br style=\"color: orange;\" /><span style=\"color: orange;\">1 Shanti Road, Bangalore</span><br style=\"color: orange;\" /></div><br />\n<div style=\"text-align: center;\">Followed by a weekend workshop<br /><span style=\"color: orange;\">17th and 18th July 2010 at </span><a style=\"color: orange;\" href=\"http://jaaga.wikidot.com/\">Jaaga</a><br />supported by the Centre for Internet and Society, Bangalore</div>",
"body": "Pad.ma has been running as an online archive of digital video with text annotations, for over two years. During this period, the focus has been on gathering materials, annotating densely, and building an archive. At present, pad.ma has over 400 hours of footage, in over 600 \"events\". Almost all of this is fully transcribed and often mapped to physical locations. Essays have been written over video, and narratives created across different clips in the archive. The focus has been on pulling material into pad.ma. <br /><br />What are ways to start thinking about pulling material out of pad.ma? From the onset, pad.ma has had an API (documented at <a href=\"http://wiki.pad.ma/wiki/API\">http://wiki.pad.ma/wiki/API</a>), a programming interface that allows you to perform searches, seek to exact time-codes in any video, fetch transcript and map data, and display all this however you please. Also Pad.ma's General Public License (PGPL, <a href=\"http://pad.ma/license\">http://pad.ma/license</a>) is designed specifically for the reappearance and reuse of the material in Pad.ma for non-commercial, research and educational use. Through the experience of running the archive, there have been various imaginations of multiple, layered, time-based annotations over video: pedagogical tools for learning and discussion; presentation tools that juxtapose text and video in new ways, essays and other writing formats enabled by rich and context-specific media. <br /><br />At the workshop, we hope to explore some of these imaginations for video on the web, and video's new qualities as a result of online practices.&nbsp;&nbsp; We invite video-makers, writers, coders and other enthusiasts to participate. Taking the term \"application\" in the broadest possible sense, we invite participants to bring video material, texts, software, or ideas, combine them with existing materials and tools in pad.ma, and develop innovative kinds of \"output\", which then echo into the structure of the archive.<br /><br />If youre interested, have a look at the Workshop Outline above, and send us a line at pad.ma@pad.ma, with a short bio and ideas for your participation. <br /><br />\n<table class=\"cf gJ\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td class=\"gF gK\">\n<table style=\"width: 8px; height: 44px;\" class=\"cf gJ\" cellpadding=\"0\">\n<tbody>\n<tr>\n<td colspan=\"2\"><br /></td></tr></tbody></table></td>\n<td class=\"gH\"><br /></td>\n<td class=\"gH cY8xve\"><br /></td></tr></tbody></table>\n<div id=\":2pn\" class=\"ii\n gt\">\n\n\n\n<div bgcolor=\"#ffffff\" text=\"#000000\">\n<div lang=\"x-western\">Pad.ma (Public Access Digital Media Archive) would like to invite you\nto an open house on 16th July (Friday).<br />\nThis event is organized with Center for Internet and Society and\nAlternative Law Forum. <br />\n<br />\nTime: 6:30 pm<br />\nVenue: 1 Shanthi Road, Shanthi Nagar, Bangalore<br />\n<br />\n<b>From Archive to Application (and back)<br />\n</b>an evening of conversations around archiving practices and\ntechnology. <br />\n<br />\nIntroducing Pad.ma: Namita A. Malhotra (ALF) and Subuhi Jiwani (Pad.ma)<br />\nBuilding a digital archive: Nishant Shah, Center for Internet and\nSociety<br />\nKrumbigal project: family archives and (re)writing histories: Suresh\nJayaram, Artist<br />\nArchives for the arts and new possibilities posed by the internet:\nAnnapurna Garimella, A.R.T.<br />\nPlaying with the archive:\nSanjay Bhangar, CAMP and Pad.ma<br />\n<br />\nPlease join us after for dinner and drinks at 1 Shanthi Road.</div></div></div><br />",
"schedule": "<br />After a hands-on introduction to pad.ma and its possibilities and tools, the workshop will break up into streams for content and code. One day 2, these streams come back together.<br /><br />In the content stream, participants could:<br /><br />- bring in their own footage, clips from popular or unpopular cinema, science or lab videos, ads or news, artworks or documentary films, and write on or with them.<br />- bring together shots, scenes or sounds from fiction or non-fiction films, and make a 'movie' or create a 'running commentary' alongside.<br />- write over video critically or creatively: theorise or contextualise footage, collectively author textual narratives or weave fiction and/or poetry with moving images.<br />- create teaching units or illustrated lectures using pad.ma, begin a research project or map a phenomenon through video and text.<br /><br />In the code stream, participants would:<br /><br />- devise new ways in which video and text can speak to each other, and to an online audience.<br />- For developers, this 2-day workshop is an opportunity to experiment with the newest web-video technologies. Concretely, we will cover some background and history of HTML 5 &lt;video&gt;, understand how the pad.ma website works with time-based annotations, server-side seeking of video, etc. and finally work on hacking on applications / prototypes using the pad.ma API (http://wiki.pad.ma/wiki/API). The developer track of this 2-day workshop is open to all, but knowledge of HTML, CSS and / or javascript would be useful.<br /><br />",
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"shortname": "Hydrarchy",
"title": "The Ship and the Ship",
"header": "Video lecture with materials from CAMP's ongoing Wharfage project, \ninvolving state records, seafarers and \"free trade\" between parts of the\n Persian Gulf, South Asia, and Africa. <br /><br />\n<div style=\"text-align: left;\">\n</div>\n<div style=\"text-align: center;\">by Shaina Anand and Ashok Sukumaran<br />for<br />\"Hydrarchy: Power and Resistance at Sea\"<br /><span style=\"color: orange;\">UCL, London, </span><br style=\"color: orange;\" /><span style=\"color: orange;\">Saturday, September 18, 2010, </span><br style=\"color: orange;\" /><span style=\"color: orange;\">10 am to 5 pm.</span><br /></div>\n<div style=\"text-align: center;\">organised by Gasworks<br /></div><br />",
"body": "Unlike the explorer whose frontier is \"where no one else has gone\", the wooden-ship-captain who says he goes \"where no one else goes\" also whispers, \"anymore\", hinting that things change with time. In this story, Iraq was a destination fifteen years ago, as Somalia is today. Such horizons for \"free trade\" are produced by certain groups doing, openly, what others have deemed temporarily atleast, unprofitable. This takes skill and a capacity, a \"power and resistance at sea\". <br /><br />At the same time, the orientation of ships and traders towards certain destinations has its \"price\". How to deal with unexpected intimacies? Remember, Sara Ahmed wrote,&nbsp; that the words contingency and contact have the same root (Latin: contigere = to touch). Goats crowd the insides of boats, charcoal catches fire. Ethiopian discotheques, sinkings off Oman, and boardings by the US navy are recorded on Gujarati sailors' cellphones. Even if the goods are all Chinese, one state \"feels\" another. <br /><br />So there is one ship here, which could be described as brutal, bottom-feeding, capitalism as usual. And then there is another one, which has a range of peculiar and persistent properties. It is: made of Malaysian timber, brought home in the monsoons, classified as a \"sailing vessel\",&nbsp; a vigorous offspring of the traditional arab \"dhow\" and gujarati \"vahan\", fed on cheap diesel from Iran and break-bulk cargo re-exported from the Emirates.&nbsp; These two ships tell us about the balance of forces between nation-states, tax-regimes, labour-pools and ecosystems, for ex. in the diagram below... a matrix that is nevertheless perturbed, excited, by each passing ship.<br /><font size=\"3\"><br /><font size=\"2\"><br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; s<br />&nbsp;\"Free ports\" run by&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; a&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \"Liberalisation via Revolutionary Guard\",<br />&nbsp;ruling families&nbsp; since&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; *&nbsp; cheap&nbsp; diesel<br />&nbsp;atleast the 1800's&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; *&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; c&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; s&nbsp;&nbsp;&nbsp;&nbsp; <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; s&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; t&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \"&nbsp;&nbsp;&nbsp; p&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; e&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; i&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; i&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; k&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; r&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; o&nbsp; <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; r&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; r&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; v&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; n&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; a&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; i&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; s <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; m&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; c&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; c&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; *&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; y&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; &nbsp; &nbsp;&nbsp; e&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />\"Semi-states \"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp; &nbsp; &nbsp;&nbsp; \"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; s&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <br />where most daily goods&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; *&nbsp; Seafaring \"minority community\",&nbsp; <br />come by sea&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; and ship-builders since antiquity</font><br /></font><br /><br /><br />",
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"dateend": "2010-09-19",
"dateadded": "2010-08-23T19:05:17Z",
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"shortname": "edgware road",
"title": "The Edgware Road Project",
"header": "<br />\nCAMP\nis involved in a 2-year \"print-from-web\"\nproject, linked to its own investigations of the infrastructures of commerce and\npleasure in this part of London. As part of the first \"block study\", we looked at several buildings and their ownership and use histories, and produced a series of tablemats.<br /><br />\nThe web-based part of the project resides at <a href=\"http://edgwareroad.org\">http://edgwareroad.org</a>. This website collects materials from various such \"studies\", conducted by us and\nothers, which then are collaboratively edited and published in a number of physical forms: volumes, pamphlets and placemats.&nbsp;\nThis is an ongoing project, as part of the Serpentine Gallery's Public\nProgram.<br />\n<br />\n",
"body": "In collaboration with the Centre for Possible Studies, <br />Janna Graham, Amal Khalaf and <font face=\"Times New Roman\" size=\"3\"><span style=\"font-size: 12pt;\">\u00c3\u2026b\u00c3\u00a4ke.</span></font><br /><br /><span style=\"font-weight: bold;\">Update:</span> the very first publication/ pamphlet made using archival material and our editing / printing tool was done in the St. Marylebourne school in August 2010. This has become a \"relay\" in which by now various groups, in this case St. Marylebourne School, <font color=\"navy\" face=\"Arial\" size=\"2\"><span style=\"font-size: 10pt; font-family: Arial; color: navy;\"></span></font>Ultra-Red, CAMP,&nbsp; Abake, have been already involved. This is sweet.<br /><br />See Images tab above for some pics!<br /><br style=\"font-weight: bold;\" /><span style=\"font-weight: bold;\">Update 2</span>: An interview with CAMP on the Edgware Road project just got published in the Arab Studies Journal (Spring, 2010). <br /><br /><span style=\"font-weight: bold;\">Update 3:</span> www.edgwareroad.org is now live (July, 2011)<br /><br /><b>Update 4:</b> we published our book on pleasure on the road, see side bar, entirely designed on edgewareroad.org. Oct 2013<br /><br />",
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"datestart": "2010-08-01",
"dateend": "2010-12-12",
"dateadded": "2010-08-26T20:49:03Z",
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"type": 2,
"shortname": "dontwait2",
"title": "Don't Wait for the Archive, Pt. 2",
"header": "<br />\n<div style=\"text-align: center;\">A Workshop with Pad.ma<br />Rooftop Studios, Cairo <br /><br /><span style=\"color: orange;\">October 17-21 and 24-27, 2010</span><br style=\"color: orange;\" /><span style=\"color: orange;\">Timings: afternoons.</span><br />Visitors are welcome all day. <br /></div>",
"body": "To not wait for the archive, at least means to do \nsomething. To not wait for the missing archive to be recovered, or the \npromised archive to be unveiled, means to make an inventory of what we \nhave, right now. We do have memory, a vague recollection of how we came \nto collect and share the things we care about. But we also have \nimagination, an idea of the archive as it could have been, and this \nimagination might speak even louder. We also have a sense of where our \ncollective practices of borrowing, stealing, hoarding, indexing, \nremembering, and forgetting, have brought us, a sense of what we can do,\n and cannot do.<br /><br />The archives we've been waiting for, will open \nsoon. And they will be \"open\", as it has been announced, and remain \n\"open\". But open to what, and for what? Will it be the \"open\" in \"open \nfor business\", a grand opening to close a number of deals, or the \"open\"\n in \"open source\", an invitation to read, write and redistribute? Could \nit be the \"open\" in \"open-endedness\", or even the \"open\" in the \"<a href=\"http://en.wikipedia.org/wiki/Open_city\">open city</a>\", of an early surrender to the enemy? These are questions for us, as we cannot wait, not any longer, for the archive to open.<br /><br />What\n we can do is bring our tools, and see what they're good for, and what \nhappens if we combine them. And despite our memories of waiting for the \narchive for too long, we can speak from experience. We can speak of the \ncity, Bangalore or Bombay or Beirut or Berlin, its layers of dust and \nwires and memories. We can speak of what's missing when we speak of the \ncity, as the city keeps changing, and will remember us as rubble, as \nunder reconstruction, as for sale. But even in these cities, we have \nsome old infrastructure, some new technology, and we make use of it \nevery day.<br /><br />To not wait for the archive, not this time, is to \nbegin to negotiate: to what extent can we get organized, or establish \ncommon protocols, in order to keep a few things that we care about in \ncirculation? Where are the on-sites where they are being produced, and \nwhere are the off-sites for back-up? What can be carried over when \nthings travel? Where are your friends tonight? Will the neighbours mind?<br /><br />------------------------------------------------------------------------<br />Don't Wait for the Archive, Pt. 2<br />A Workshop with Pad.ma<br />Rooftop Studios, Cairo<br />October 17-21 and 24-27, 2010<br />Timings: [depends on lunch, but after lunch, 2 - 6 pm?] <br />Visitors are welcome all day. <br />------------------------------------------------------------------------<br /><br />Pad.ma invites artists, archivists, activists, collectors, \nfilmmakers, researchers, writers, and anyone intrigued, to a two-week \nworkshop in Cairo, preceding the \"Speak, Memory\" <a href=\"http://speakmemory.org/\">conference.</a>\n Part of the workshop will involve working with video collections from \nEgypt and beyond, most importantly with private or public collections \nthat the participants bring to the table, while exploring Pad.ma (<a href=\"http://pad.ma/\">http://pad.ma</a>)\n as a platform for collaborative video archiving and annotation. Beyond \nactual contributions to Pad.ma, the workshop will address a number of \nconceptual questions in archiving that we hope are just as urgent and \npractical. (<a href=\"http://pad.ma/texts/\">http://pad.ma/texts/</a>, \ncompiled during \"Don't Wait for the Archive, Pt. 1\", can serve as a \nstarting point.) Last but not least, it is intended to allow for \nunplanned encounters that offer new perspectives on the local or \nregional circumstances under which we do, or do not, work with archives.<br /><br />The\n workshop will be held (mostly) in English, consist of relatively \nflexible early-afternoon and evening sessions, include occasional \nexcursions and film screenings (see <a href=\"http://0xdb.org/\">http://0xdb.org</a>\n for an incomplete list of materials to bring and share), and conclude \nwith an \"open day\", on October 27, for presentations and a public \ndiscussion.<br /><br /><br /><br />Pad.ma team for the workshop:<br /><br />Zinnia Ambapardiwala<br />is\n a physics graduate, trichologist, hairdresser, and system \nadministrator. She is currently the technical coordinator of Pad.ma. <br /><br />Sanjay Bhangar<br />is a writer and software developer who lives in Mumbai. He is a founder member of <a href=\"../\">CAMP</a>,\n and has been involved with the pad.ma project since its inception. He \nis a big believer in the open-source software development model. He is \ncurrently working on a few web-based projects including a web-to-print \npublishing platform, a resource site for theatre in India, and online \nmapping and indexing tools. <br /><br />Jan Gerber<br />is an artist, \nfilmmaker and software developer from Berlin. He develops platforms for \nthe production and distribution of video material (<a href=\"http://v2v.cc/\">v2v.cc</a>, <a href=\"http://0xdb.org/\">0xdb.org</a>, pad.ma, <a href=\"http://dictionaryofwar.org/\">dictionaryofwar.org</a>) and runs informal cinemas and publicly funded events on questions of intellectual property and piracy (<a href=\"piratecinema.org\">piratecinema.org</a>, <a href=\"http://oil21.org/\">oil21.org</a>). As a co-founder of 0x2620.org, he is currently working on Pan.do/ra, the next version of Pad.ma and 0xdb.org.<br /><br />Sebastian W. L\u00c3\u00bctgert<br />is\n an artist, programmer and writer. He lives and works in Berlin. He has \nco-founded a self-organized institution for artistic research in media \ntechnology (<a href=\"http://bootlab.org/\">http://bootlab.org</a>), a cinema for movies downloaded from the internet (<a href=\"http://piratecinema.org/\">http://piratecinema.org</a>) and a non-profit organization for open-source software development (<a href=\"http://0x2620.org/\">http://0x2620.org</a>).\n He has initiated various projects dealing with copyright and cinema, \nand is currently working on a film on capitalism, set in Dubai.<br /><br />Namita A. Malhotra<br />is a writer, researcher and filmmaker with the Alternative Law Forum (<a href=\"altlawforum.org\">altlawforum.org</a>).\n She lives and works in Bangalore. She works on technology, legality and\n power and is soon (hopefully) finishing a film on video pornography and\n a monograph on law, affect and the image. <br /><br />Ashok Sukumaran<br />is\n an artist whose interests are in archaeologies of media, and in what \nhaunts or underlies network forms and material distributions. Recent \nsubjects in his work include electricity, cycle rickshaws, sea trade, \nand \"the neighbour\". His work takes the form of public projects, \nexhibitions, films, lectures, and long-term collaborations via <a href=\"../\">CAMP</a> , which he co-founded in 2007.<br /><br />",
"schedule": "<br />\nPad.ma invites artists, archivists, activists, collectors, \nfilmmakers, researchers, writers, and anyone intrigued, to a two-week \nworkshop in Cairo, preceding the \"Speak, Memory\" <a href=\"http://speakmemory.org/\">conference.</a>\n Part of the workshop will involve working with video collections from \nEgypt and beyond, most importantly with private or public collections \nthat the participants bring to the table, while exploring Pad.ma (<a href=\"http://pad.ma/\">http://pad.ma</a>)\n as a platform for collaborative video archiving and annotation. Beyond \nactual contributions to Pad.ma, the workshop will address a number of \nconceptual questions in archiving that we hope are just as urgent and \npractical. (<a href=\"http://pad.ma/texts/\">http://pad.ma/texts/</a>, \ncompiled during \"Don't Wait for the Archive, Pt. 1\", can serve as a \nstarting point.) Last but not least, it is intended to allow for \nunplanned encounters that offer new perspectives on the local or \nregional circumstances under which we do, or do not, work with archives.<br />\n<br />\nThe\n workshop will be held (mostly) in English, consist of relatively \nflexible early-afternoon and evening sessions, include occasional \nexcursions and film screenings (see <a href=\"http://0xdb.org/\">http://0xdb.org</a>\n for an incomplete list of materials to bring and share), and conclude \nwith an \"open day\", on October 27, for presentations and a public \ndiscussion.<br />\n<br />",
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"title": "Properties of the Autonomous Archive",
"header": "CAMP, <a href=\"http://0x2620.org\">0x2620</a> and <a href=\"http://pad.ma\">Pad.ma</a> invite you to: <br /><br />\n<div style=\"text-align: center;\">PROPERTIES OF THE AUTONOMOUS ARCHIVE<br /><br /><span style=\"color: orange;\">Friday and Saturday,</span><br style=\"color: orange;\" /><span style=\"color: orange;\"> January 7 and 8, 2011.</span><br style=\"color: orange;\" /></div><br />A gathering of key internet platforms, archival initiatives and related infrastructures. Day one is a full day of presentations and discussions on Friday, January 7, 2011.<br />\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n",
"body": "<br />\n\"Show me your Properties!\"<br />\nFriday January 7,<br />\n10:30 am to 8:00 pm. <br />\nMax Mueller Bhavan Library, <br />K. Dubash Marg, <br />Kala Ghoda, Mumbai <br /><br />\n\nSchedule: <br />\n\n<br />\n\n10 15 onwards: TEA and COFFEE<br />\n\n10 45 Introduction. Ashok Sukumaran: autonomy and translation<br />\n\n11 00 Pad.ma: people annotate describe make add<br />\n\n11 45 Kenneth Goldsmith: If we had to ask permission, we wouldn't exist: a brief history of UbuWeb and the law<br />\n\n\n\n\n12 30 Sean Dockray: AAAAAAAAAAAAAAAAAARG.ORG<br />\n\n&nbsp;1 15 LUNCH BREAK<br />\n\n&nbsp;2 45 Shared Footage Group: Its past and future<br />\n\n&nbsp;3 30 G Sundar and Amar Gurung: Archiving in the vernacular, experiences from Tamil and Nepali<br />\n\n\n\n\n&nbsp;4 15 Rochelle Pinto: The mundane state - historians in a state archive<br />\n\n&nbsp;5 00 TEA BREAK<br />\n\n&nbsp;5 30 Peter Sunde Kolmisoppi: Flattr, the need for alternative financial views<br />\n\n&nbsp;6 15 Matthew Fuller: Two evil media stratagems: structure data &amp; know your sorts<br />\n\n\n\n\n&nbsp;7 00 Lawrence Liang and Sebastian L\u00c3\u00bctgert: Privacy and Scandal: Radia tapes and Wikileaks<br />\n\n&nbsp;8 00 CLOSING DISCUSSION<br /><br /><br />Workshop<br />\nSaturday, January 8<br />\n(if you would like to attend write to info(AT)<a href=\"../\" target=\"_blank\">camputer.org</a> )<br /><br /><br />\nThis event is supported by the 50 years of the Goethe Institut in India Program. <br /><br />_______________________________<br /><br />PROPERTIES OF THE AUTONOMOUS ARCHIVE<br /><br /><br />\"Beyond the status of the archive as property lie the properties of \nthe archive, which can destabilize and complicate received notions of \nrights.\" <br />- from Pad.ma, <a href=\"http://pad.ma/texts/10_Theses_on_the_Archive.html\">Ten Theses on the Archive</a>, no. 9. <br /><br />Not only rights, of course, but ALL received notions. The proverbial dust of the historical archive, its actual censorious or smiling archivists, the digital archive's protocols, video codec or \"social network\", all of these things crowd the archive, its imagination and reproduction.&nbsp; In other words, the archive's real properties tend to destabilize ideal characteristics we may ascribe to it. And tend to take us into exciting side-streets of constraint and possibility, often beyond the motivations or will of authors, rights holders, and even archivists themselves. <br /><br />Such a sensibility towards properties (not restricted to physical qualities, and extending both the usual sense of property and its ethical sense as \"proper\", or propriety) can perhaps express better the work of the archive in our times, acknowledge its mediating powers, and suggest how its metaphorical and allusive capacities can be made stronger. That is, how the archive may be related to creative and artistic practices, which is one of our main intuitions with Pad.ma. Practices that, in general, are always entangled with the properties of the materials they work with. So that the focus on footage and not finished films in Pad.ma for instance, asks for a recalibration of ethics and politics around film. The discussion that we hope to have then, is about such qualities and powers of contemporary archives: including their stable or emergent properties, their performance and beauty, survival and capacity, and autonomy.&nbsp; <br /><br />Why autonomy? Or, autonomy from what? Well partly, from the old and still-valid categories: control by state and corporate interests, historiography of and by the powerful, and from \"subjection\" in general. But also, by declaring that autonomy is a basic, ontological property of the archive and its contents, atleast two (related) claims are being made:<br />1. Materials in the archive are not exhausted by annotations, \"users\", or any uses the material may be subjected to. The irreducibility of materials to narratives means that these are deep reservoirs to which we and others can return, and from which new ideas, experiences and effects can continually be drawn. <br />2. The autonomy of the archive inverts the logic of people as autonomous (as free consumers, choosers, users) and the archive as merely a resource, as something to be used. Such an archive then has a riskier, more open-ended relationship with the future. <br /><br />\"In declaring their autonomy, archives seek to produce norms beyond normativity, and ethical claims beyond the law.\" <a href=\"http://pad.ma/texts/10_Theses_on_the_Archive.html\">[1]</a><br /><br />It is likely that this discussion will take us beyond the metaphor of the archive, to its roots and branches, its fruits and farms, and to the ideas and initiatives that now neighbour it, in a changed landscape.&nbsp;It is clear for example that \"found\" materials are no longer found, like objet trouve, as if lying unattended on the road.&nbsp; Many of the things we care about or can work with, are found in private or protected territory. But also, increasingly, amidst vast oceans of digital \"raw material\", as the Wikileaks example shows us.&nbsp; In such an alien (to ideas of culture, or social traditions) landscape, how can individuals or groups act, what analytical tools or creative infrastructures can be built, even at our smallest, scrappiest, and most experimental levels of \"making history\", as Marx put it in a related context, \"in <span style=\"text-decoration: underline;\"></span>circumstances not of our own choosing\"? [<a href=\"http://www.marxists.org/archive/marx/works/1852/18th-brumaire/ch01.htm\">2</a>]<br /><br />\n\n<br />",
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"shortname": "spacehamilton",
"title": "CCTV Social at Space Hamilton",
"header": "Shaina Anand and Ashok Sukumaran's project CCTV Social is being shown as a 30-minute video at <a href=\"http://www.spacehamilton.com/\">Space Hamilton,</a> Seoul as part of the exhibition <br />\"<a href=\"http://www.secondorder.kr/\">The Second Order</a>\", curated by Ji Yoon Yang.<br /><span style=\"color: orange;\">Opening December 7th, 2010. </span><br /><br />Artists talk by Ashok Sukumaran: \"Postscript on the Order of Networks\"<br /><span style=\"color: orange;\">December 18th, 4pm </span><br />",
"body": "<br />In March 2008,&nbsp; artists Shaina Anand and Ashok Sukumaran \ncollaborated with several Manchester authorities to open working CCTV \nenvironments to a general audience.\n People normally 'subjected' by this infrastructure came into the \ncontrol \nrooms to observe and monitor this condition, so endemic to the UK, where\n there is approximately one police camera\n for every six citizens. About thirty people signed up for one-hour \nsessions in two control rooms in the city. These sessions became \nsomewhat like a clinic, \nwhere both police and participants discussed symptoms, anxieties and inoculations for \n'public health,' under surveillance.\nThe film is a documentation of some moments, from these several hours of curious encounters. <br />",
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"shortname": "Season",
"title": "A Season of Footage and Films",
"header": "<br />CAMP<span style=\"font-weight: bold;\"> </span>presents <br />Saturday or Sunday evening screenings through winter,\n exploring footage both within and outside the usual capsule of \"the \nfilm\". An experience that could be similar to watching films, or at \nother times harder to digest, or slower to release, closer to the moment of \nshooting, less censorious, and less fearful of finitude. Another life, \nanother world of viewing and listening experiences is always possible. <br />\n\n",
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"title": "A Season of Footage and Films, Part 1",
"header": "<br />\n<div style=\"text-align: center;\">\n&nbsp;&nbsp;<span style=\"color: orange;\"> </span><b style=\"color: orange;\">Saturday, 11th December, 2010, <br />6:30 pm onwards</b><br />\nCAMP <a href=\"http://camputer.org/campstudio.html\">roof</a><br />\n<br /><span style=\"font-weight: bold;\"></span>a) <b style=\"font-weight: bold;\">L'Inde Fant\u00c3\u00b4me</b> aka Phantom India, Episode 7: <i>Bombay, The Future India. </i><br />\n\nLouis Malle, 1969 <br />\n50 minutes<br />\n<br />\nb) <b>In and Out of \"the City\"</b><br />\nFootage\n from the city: about entering and then leaving it at will: via \nexcursions out to sea, double-lives, afternoon-naps, bike-rides, water-wells, and more. <br />\n\n\n\n50 minutes<br /></div><br />\n",
"body": "<br />What are films? Are they calculating \ncommercial wrappers applied by financiers to moving images, or purified forms that directors and crew distill from grand ideas and too many\n days of shooting? Surely a bit of both, a bit of both, and much more besides. But among the many, often unacknowledged, things and forces \nthat make up \"the film\", there is one thing that physically, undeniably,\n film is \"made of\". We usually call this material, footage.<br />\n\n\n<br />But of course, film is not just made of footage pieces, or rows of\n images. As if counting all the bricks or admiring the square feet in a home would \ntell us everything about it. Films have their own wholeness, beauty, \naura. Footage on the other hand, is the ghost that flickers from inside\n every film, suggesting the autonomy of the images, threatening to \noverflow their \"use\" in the film.&nbsp; Flickering by at 24 (or 25) times a \nsecond is not \"frames\" (since that would be only a narrow technical \ndefinition), nor \"<a href=\"http://en.wikiquote.org/wiki/Jean-Luc_Godard\">truth</a>\" (since that would be a bit romantic), but \nfootage. Footage is what exists, the moment a camera \"films\", and that \nremains a stubborn kernel at the heart of everything made from it.<br />\n\n\n<br />Louis Malle's 1969 TV film, L' Inde Fant<font size=\"2\">\u00c3\u00b4</font>me,&nbsp;\nprovides a visceral example of this. In 2010 this film (part 7 of it) flickers for us \nbetween one kind of recognition -of the directors voice and intent- and \nanother- of landmarks, people or contexts from Bombay of the late \n1960's- and a third- of the official response to the film. As the \nauthorial narrative waxes and wanes, and as it becomes clear that \nintentions on various sides can expire, the footage remains. In every \nfilm, some footage remains, and we can glean things from it.&nbsp; And every \nfootage is then part of possible, future, films. <br />\n\n\n<br />But there is other footage too, which has nothing to do with films. \nWhich is not born within the idealism, auterism or commercialism of \nfilms. And which is not just a natural produce of so-called \"digital \nnatives\", either. In other words, there are diverse forms, materials and\n effects, to be found in the space between film and video genres, their\n technologies, learned shooting habits and pure chance, that we would \nlike to explore in some detail over these eight weeks, with the help of \nothers who have thought through and produced in this way before. All of \nthis suggests that footage has the capacity to be a vital \"currency\" in \nrelationships, arguments, pleasures and politics both within cinema and \nbeyond it, not limited to the ways that, say, YouTube allows us to deal\n in it. <br />\n\n__________<br /><br />Look forward to seeing you there. <br /><br /><br />",
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"shortname": "translation",
"title": "Problems of Translation",
"header": "Jan Gerber, Sebastian Lutgert (<a href=\"http://0x2620.org\">0x2620.org</a>) and Ashok Sukumaran (<a href=\"http://camputer.org\">CAMP</a>), co-founders of the <a href=\"http://pad.ma/\" target=\"_blank\">Pad.ma</a> video archive, initiate \"Problems of Translation\" a public discussion on the nature of translations between art and art's archive, technology and art history,<a href=\"http://0x2620.org/txt/Paul%20Graham%20-%20Hackers%20and%20Painters.txt\"> software and painting</a>, and digital and analog artifacts, at the <br /><br />\n<div style=\"text-align: center; color: orange;\">Asia Art Archive, Hong Kong. <br />Thursday December 16, 2010<br /></div>",
"body": "<b><br />Problems of Translation</b><br /><br />A public discussion with Jan Gerber, Sebastian L\u00c3\u00bctgert (both <a href=\"http://0x2620.org/\" target=\"_blank\">0x2620</a>, Berlin) and Ashok Sukumaran (<a href=\"../\" target=\"_blank\">CAMP</a>, Bombay).<br /><br />Problems of translation occur not only between written or spoken languages (such as Cantonese or English), but also are a much more common phenomenon.<br /><br />Translation\n is a challenge for all \"gaps between disciplines\" (such as between art \nand technology). But a closer look at the practices of programmers and \npainters for example, might reveal that principles and techniques they \napply in their respective fields, have much more in common than it is \nusually assumed.&nbsp; Problems of translation may not lie where most \nexpected. <br />\n<br />In the art archive, the verb \"archiving\" already implies many kinds \nof translation, of the qualities and potentials of artworks and related \nmaterials. In digital art archives, such translation is \npresent in many everyday acts of scanning, tagging and uploading. The \ntransformation of analog art works into digital items not only changes \ntheir storage medium and handling qualities, but also makes them enter \ncompletely new relations, exchanges and equations. Digital materials \ntend to multiply and to leak, to both create great wealth and provide \ngreat distraction.&nbsp; \"Digital labour\" or changed work habits is another \nconsequence of this, which in turn changes how we think about the \nproduction and growth of such archives. <br />\n<br />To realise the digital archive's full potential means to take the \nidea of translation quite seriously, as a basic unit for all kinds of \ndistributive and transformative forces, indirect effects, and creative \nmisunderstandings.<br /><br /><br />",
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"shortname": "padmageneva",
"title": "Pad.ma @ Image Mouvement, Geneva",
"header": "Sanjay Bhangar from CAMP and Jan Gerber (<a href=\"http://0x2620.org\">0x2620</a>) present the pad.ma project at the <a href='http://www.image-mouvement.ch/2010.php' title='Image Mouvement'>Image Mouvement</a> Forum organized by the <a href='http://centre.ch/' title='Centre D'art Contemporain, Geneva'>Centre D'art Contemporain</a>, Geneva.<br />",
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"title": "A season of Footage and Films Part 2. Two Footage Films",
"header": "Two Footage Films, or How to make use of a Footage Archive. <br /><br style=\"color: orange;\" />\n<div style=\"text-align: center; color: orange;\">Saturday, <br /><b>December 18th, 2010</b>, <br />6:30 pm onwards. <br /></div><br />\n<div style=\"text-align: center;\">1. Domestic Tourism II<br />Maha Maamoun, 2009<br />60 minutes. <br /><br />2. Workers Leaving the Factory<br />\nHarun Farocki, 1995 <br />36 minutes. <br /></div>",
"body": "<b>CAMP</b> continues its <span></span>winter <span>season</span> of screenings exploring footage both within and outside the usual capsule of \"the film\".&nbsp; Screenings at <a href=\"../campstudio.html\" target=\"_blank\">CAMP</a> roof, starting at 6:30 pm<br /><br />\nBoth of these films begin with a\n premise that sounds like a google search: to use scenes depicting 1. \nthe pyramids and 2. workers leaving the factory. But Maha Maamoun's \nfilm, Domestic Tourism II produces effects far more politically and \npsychologically diverse that one would imagine by reading the premise \nalone. The \"keyword\" is then neither the whole story, nor worthless, in shaping our encounter with this surprising archive of Egyptian film.<br />\n<br />\nHarun\n\n Farocki's film \"Workers Leaving The Factory\" has been exhibited in \ndifferent formats since 1995, including as a multi-monitor installation,\n 'Workers Leaving the Factory in Eleven Decades' (2006). Beginning with \nthe 1895 shot, \"Workers Leaving the Lumiere Factory in Lyon\", It \nbrings together scenes that may be only incidental to a films \nnarrative, but in another assemblage such as here, produce a different \nset of identifications. We will screen both the film and a selection of \nclips from the installation, with a few addenda from Hindi cinema. <br /><br />",
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"shortname": "talkingheads",
"title": "A Season of Footage and Films Part 3. Talking Heads",
"header": "Talking Heads<br /><br class=\"Apple-interchange-newline\" />\n<div>\n<b style=\"color: orange;\">Sunday, 26th December, 2010,&nbsp;<br />6:30 pm onwards</b><br /><br /><a href=\"http://camputer.org/campstudio.html\">CAMP Roof</a><br /><a href=\"http://camputer.org/campstudio.html\" target=\"_blank\" style=\"color: rgb(0, 204, 255); text-decoration: none; font-weight: bold;\"></a></div>",
"body": "<br /><br />Commonly seen as the bane of documentary films, the \"talking head\" is reincarnated as a rare and entertaining set of encounters, in formats such as:<br /><br />a solo, by a woman in her kitchen, and another in a dance bar,<br />a couple, in a playful interview by jean-luc godard of woody allen,<br />a trio, when two european film students drunkenly interview tsai ming liang,<br />four men on a talk-show set, \"the Good, the Bad and the Ugly\" and the presenter, on In-Mumbai cable channel in 2001,<br />\"paanch bahuraniyan\" (five daughters-in-law) in a feudal house in an urban village in Delhi,<br />a dozen young people and a dholki (drum) singing an old protest song indoors,<br />a crowd that takes over a TV studio in Bucharest, in 1989. <br /><br />Also featuring, not in this order: deleuze, dhasal, haraway, ibrahim, prelinger, navalkar, roy, Talking Heads, zizek and more.<br /><br />What thread ties them together? Perhaps no one , just as all the objects in one's house are not \"related\" in a simple way. <br />Come and see more at:<br /><br />TALKING HEADS <br />Sunday, 26th December 2010, 6:30 pm - 8:30 pm&nbsp; <br />CAMP roof<br /><br /><br /><br /><br />",
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"title": "A Season of Footage and Films Part 4. The Parallel Street",
"header": "<div style=\"text-align: center;\"><span dir=\"ltr\">Die Parallelstra\u00c3\u0178e (The Parallel Street)</span><br />\n\n<span dir=\"ltr\">Ferdinand <span class=\"il\">Khittl</span></span>, 1961<br />\n\n86 minutes. <br />\n\n<br />\n\nSunday January 2, <br />\n\n6:30 pm. <br />\n\n<a href=\"../campstudio.html\">CAMP Roof </a><br /></div>\n\n<br />\n",
"body": "<br />\n\n\n\" ...sometimes \nextraordinarily hilarious, sometimes hardly able to get away from its \ndeliberately starched setting. A group of young men is trying to analyse\n an enormous number of fragmentary film documents (shot by Khittl and \nhis cameraman Ronald Martini during two extensive travels around the \nworld in 1959 and 1960). The 308 \u00e2\u20ac\u0153documents\u00e2\u20ac\u009d \u00e2\u20ac\u201c films about water and \nerosion, Brasilia, a volcano, rice in Asia or a meanwhile legendary \nRosst\u00c3\u00a4uscher (horse cheater) \u00e2\u20ac\u201c are screened one after the after and \nintermitted by comments of the team members (who, on their part, are \nbeing commented by a supervisor). \u00e2\u20ac\u0153In a Kafkaesque room five \nIonescoesque people find themselves in a Sartreesque situation, trying \nto solve a Camuesque problem\u00e2\u20ac\u009d, as back then pre-eminent critic Helmut \nF\u00c3\u00a4rber ironically described this setting.\"<br />\n\n\n<br />\n\n\n<span dir=\"ltr\">from a review of the 44th Viennale by Martina Lunzer and Barbara Wurm, Senses of Cinema</span>, October 2006. <br /><br /><br clear=\"all\" />\n\n",
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"title": "Metaphysics in Many Directions",
"header": "<div style=\"text-align: center;\">An evening with Graham Harman<br /><span style=\"color: orange;\">Monday, January 17, 2011<br />6:30 pm onwards</span><br />At CAMP studio<br /></div><br />",
"body": "<br />On our rooftop, with internet cables overhead, firecrackers \ncelebrating unknown events, amidst a flurry of projects, in a break from\n programming, carpentry, and travel, and interrupting our usual \nscreening schedule, we have the pleasure of announcing an informal \nencounter with the philosopher Graham Harman, and his recent and \nupcoming books, including the <span style=\"font-style: italic;\">three that came out in November</span> last year:&nbsp; the fiction work <span style=\"font-style: italic;\">Circus Philosophicus</span>, \"Platonic myth meets American noir in this haunting series of \nphilosophical images from gigantic ferris wheels to offshore drilling \nrigs.\", <span style=\"font-style: italic;\">Towards Speculative Realism</span>, a collection of his essays on Heidegger, phenomenology and objects since 1997, and <span style=\"font-style: italic;\">L'Objet Quadruple</span> (The Quadruple Object, currently only in French), which lays out his theory of a fourfold split within objects. <br /><br />Graham Harman is one of the most exciting voices in contemporary philosophy. He lives and teaches in Cairo, is a prodiguous <a href=\"http://doctorzamalek2.wordpress.com/\">blogger,</a> and is the author of several books constituting what he describes as an Object-Oriented philosophy.&nbsp; See more here: <a href=\"http://en.wikipedia.org/wiki/Graham_Harman\">http://en.wikipedia.org/wiki/Graham_Harman<br /></a><br />One of his key older works (already from 2009) is a book on Bruno Latour: \"The Prince of Networks\" is available as open-access <a href=\"http://www.re-press.org/book-files/OA_Version_780980544060_Prince_of_Networks.pdf\">here</a> and takes seriously Latour as a philosopher, describing Latour's books Irreductions, Science in Action, We Have Never Been Modern, and Pandora\u00e2\u20ac\u2122s Hope as having major consequences for metaphysics and philosophy. One of these consequences, congruent with Harman's own view,&nbsp; is that human subjectivity can no longer sustain a central position in philosophy, and we need to attend to the ways in which: \"the arena of the world is jam-packed with diverse objects, their forces unleashed and mostly unloved... snowflakes glitter in the light that cruelly annihilates them; damaged submarines rust along the ocean floor. As flour emerges from mills and blocks of limestone are compressed by earthquakes, gigantic mushrooms spread in the Michigan forest. While human philosophers bludgeon each other over the very possibility of \"access\" to the world, sharks bludgeon tuna fish, and icebergs smash into coastlines.\"&nbsp; A provocative aspect of Object-Oriented Ontology is an argument for \"aesthetics as first philosophy\", as well as \"allure as causation\"... in other words, suggesting that a kind of aesthetics is the primordial force which causes everything in the world to happen.",
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"shortname": "GATS",
"title": "The Annotated \"Gujarat and the Sea\" Exhibition",
"header": "<div style=\"text-align: center;\"><span style=\"color: white;\">now showing at </span><br /></div>\n<div style=\"text-align: center;\"><span style=\"color: orange;\">\"Against All Odds:</span><br />Contemporary Responses to the Historiography of Archives and Museums in India\"<br />Lalit Kala Academy, Delhi<br />curated by Arshiya Lokhandwala<br /><span style=\"color: orange;\">January 12-27, 2010</span><br /><br />(An exhibition building upon photos of another exhibition, and more)<br /></div>",
"body": "<br />In October 2010, a major conference and exhibition was organised in \nthe port town of Mandvi in Kutch.&nbsp; The exhibition 'Gujarat and the Sea' \nwas, as its curator puts it, \"opportunistic\". It&nbsp; made use of \nopportunities to access UK-based archives, to bring about 80 maps, \nphotographs, and objects, mostly printed as high-quality digital reproductions, to Jainpuri in Mandvi. These materials were sourced\n mainly from the British Library collection, the UK National Maritime \nMuseum, and private collections both in Gujarat and abroad.&nbsp; There is a \nspecific poignancy to the material as it is exhibited: the reproductions\n are carefully printed on archival paper, but only have licensed \npermission to be shown over one three month period.&nbsp;&nbsp; <br />\n<br />A three-day international conference on 'Gujarat and the Sea' also \nopened at the same time in the same Mandvi venue. Unlike the conference \nhowever, the exhibition has since travelled to other parts of Gujarat: to the National Institute of Design in Ahmedabad in November, and to the Science Centre in\nSurat in December. For us, this exhibition already constitutes a \nnoteworthy contemporary response to the \"historiography of the Museum and the Archive\"\n of this history, in Gujarat. <br />\n<br />One question it raises directly is, what does it take to be \n\"opportunistic\", in this way? Who can be opportunistic? This question \nhas implications for exhibition practices, and the idea of what \nexhibitions can be. And the question for art perhaps is, how can such \nopportunity, access to faraway image archives in this case, be further \ntranslated or traded, and in which spirit, style, or medium?<br />\n<br />GATS is organised by a well-known Gujarati cultural group, with a \nBritish curator, Kutch-based NGO partner, and financial support from \nlocal government and multinational interests. These assets were \nleveraged, not without internal frictions and differing interests, to \nbring some images \"back\" to within a stone's throw of contemporary \nboatbuilding and seafaring activity on Mandvi's Bandar road. Exhibitions\n are not typically about knowledge, and so it is not a \"knowledge gap\" \nthat separates this exhibition from the ships and seafarers around the \ncorner. It is perhaps a more primal question, of what can be seen, \nheard, felt, or alluded to and in which kind of marriage between form \nand context. In what practical manner can the violence, smuggling, \nbuggery, foreignness, local pride, predominantly Muslim \nseafaring class, and many other known aspects of Gujarat's maritime \nhistory be \"exhibited\", and be received by audiences?<br />\n<br />Some hints are there in the materials themselves. Many maps and \nimages in the GATS exhibition are layered with past annotations, claims,\n borrowings, translations: notes in Gujarati on english pilot's maps, \nenglish scrawls on Gujarati lists, photos taken with or without \n\"permission\", and often an in-built indifference to or obscuring of \nsources. The exhibition freezes such running threads into one \n\"appearance\", lighting up some routes, paths by which this material may \nbe felt or appreciated, while remaining shy of others. <br />\n<br />CAMP is proposing here to continue this route-finding effort, by \nannotating, cropping, layering, and extending \"Gujarat and the Sea\".&nbsp; At\n a certain distance from Gujarat, with the help of historians and \namateurs working in the field, and through our own work on contemporary \nGujarati seafaring activity as far-flung as Somalia and Iraq, we believe\n that many more layers of this story can unfold.&nbsp; This is then the \nexhibition as \"relay\", which in the best case leads to more responses \nfrom other \"parties\", so that exhibitions like these mark a \n\"shubh-aarambh\", a providential beginning, and not an end, of debates \naround their subjects. <br /><br />An online version of the exhibition will be posted here shortly. <br />The Delhi exhibition is open upto January 27, 2011.<br /><br />Design and Production by Samir Parker<br />Thanks to Edward Simpson and Iyesha Geeth Abbas<br /><br /><br /><br /><font color=\"#888888\">\n</font>",
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"shortname": "part5",
"title": "A Season of Footage and Films Part 5. The Time Between Recording and Projection",
"header": "<br style=\"color: orange;\" />\n<div style=\"text-align: center;\"><span style=\"color: orange;\">Sunday, January 23, 2011</span><span style=\"color: orange;\">, 6:30 pm </span><br />CAMP <a href=\"http://camputer.org/campstudio.html\">Roof</a><br /><br />1. The Specialist<br />Eyal Sivan and Rony Brauman<br />1999<br />128 mins<br /><br />2. Ici et Ailleurs<br />Jean-Luc Godard, Anne-Marie Mi\u00c3\u00a9ville, Jean-Pierre Gorin, <br />&nbsp;AKA The Dziga Vertov Group<br />1974<br />53 mins<br /></div>",
"body": "<br />1. Fifteen years after the end of the Second World War, SS Colonel Adolf Eichmann was captured in Argentina, where he was living and working under a false name, by Mossad agents and taken to Israel for trial. Leo Hurwitz, an American leftist film-maker was hired to record the Eichmann trial, which he did using four concealed cameras. In 1991, when filmmaker Eyal Sivan inquired about the footage, he was told that it didn't exist. In 1999, Sivan and Rony Brauman put together this 128-minute film, disrupting the chronology of the trial and highlighting instead its tone and environment, from over 300 hours of the recorded footage they were able to access (one third of which had decayed by then). <br /><br />2. At the request of the PLO, \"The Dziga Vertov Group\" shot footage of the Palestinian resistance in 1970. They were only able to edit the footage and make the film Ici et Ailleurs (Here and Elsewhere) in 1974, retaining \"only five shots\" from the original material. <br /><br />\"In 1970, this film was called Victory. In 1974, this film is called Here and Elsewhere. And elsewhere. And...\" <br />&nbsp;<br />\"For it\u00e2\u20ac\u2122s in the nature of cinema (delay between the time of shooting and the time of projection) to be the art of here and elsewhere. What Godard says, very uncomfortably and very honestly, is that the true place of the filmmaker is in the AND. A hyphen only has value if it doesn\u00e2\u20ac\u2122t confuse what it unites.\"<br />&nbsp;- Serge Daney (<a href=\"http://kinoslang.blogspot.com/2009/01/preface-to-here-and-elsewhere-by-serge.html\">A Preface to Here and Elsewhere</a>)",
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"shortname": "mumpyjan11",
"title": "Mumbai Python Users Group Meet",
"header": "<div style=\"text-align: center;\"><span style=\"color: orange;\">CAMP, January 22nd, 2011, 6pm onwards.</span><br /></div>",
"body": "<p>Agenda:\n</p>\n<ol>\n<li> Using Python to scrape the web: Jan Gerber ( 0x2620.org ) will \npresent python-ox (the web in a dict), a python library he has been \nworking on to create structured data out of web content, followed by a \ngeneral discussion around web scraping - tools, best practices, and \nother approaches / examples people may have. - Around 45 minutes. \n</li>\n<li> Django - some approaches to building complex web applications: Jan will present python-oxdjango ( <a href=\"http://code.0x2620.org/python-oxdjango/\" class=\"external free\" title=\"http://code.0x2620.org/python-oxdjango/\" rel=\"nofollow\">http://code.0x2620.org/python-oxdjango/</a>) and make a short presentation of pan.do/ra ( <a href=\"http://pan.do/ra\" class=\"external free\" title=\"http://pan.do/ra\" rel=\"nofollow\">http://pan.do/ra</a>\n ), leading to an open discussion around different approaches people \nhave used to solve common problems when developing for the web. - Around\n 45 minutes.\n</li></ol>",
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"shortname": "footage6",
"title": "A Season of Footage and Films, Part 6. The Desert of the Real: Footage from Dubai",
"header": "<div style=\"text-align: center;\"><span style=\"color: orange;\">Sunday January 30 6:30 pm\n</span><br />\n<div style=\"text-align: center;\">CAMP <a href=\"http://camputer.org/campstudio.html\">Roof\n\n</a><br /></div></div><br />\n<div style=\"text-align: center;\">Sebastian L\u00c3\u00bctgert shows footage from a future film about capitalism, set in Dubai.\n<br />2008-2010\n<br />111 mins.\n<br />Shot on Canon 5D Mark II</div>",
"body": "\"Today, the global economy presents itself as a form of reality that is entirely inaccessible to imagination, since its only manner of being concrete is abstraction. The film in question is not concerned with fata morganas, or \"castles built on sand\". It is set in an imaginary place where the abstract form that is capital has been poured into concrete shapes, where the pyramid scheme of profit and debt has left its debris in the form of actual pyramids, and where the sudden appearance of things that were believed to be unimaginable cannot be reduced to a purely optical phenomenon.\"\n",
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"title": "A season of Footage and Films Part 7. Disket Document",
"header": "<br /><br />\n<div style=\"text-align: center;\">\n<b style=\"color: orange;\">Sunday February 6,&nbsp; 7:00 pm</b><br />At CAMP <a href=\"../campstudio.html\" target=\"_blank\">Roof</a><br /><br />\n<b>Disket Document</b><br />\n90 mins. <br />\nChitrakarkhana<br />2001<br /></div>",
"body": "<br />In July 2001, a few historians, journalists and activists \nare invited to Disket in the Nubra Valley, Ladakh to participate in a \nNational Integration Seminar.&nbsp; However, it appears that there has been a\n miscommunication, on arrival they are told that the event is actually \nthe celebration of \"Buddh Mahotsav\", part of a series of nation-wide \nevents (the next was to be in Arunachal Pradesh) organised by the VHP. \nWhat were a group of mostly left-liberal folks to do? They performed \ntheir speeches for the gathered people of Disket, and talked late into \nthe night. <br />\n<br />Attempts to reckon with the situation erupt only on the sidelines: \nfor example at breakfast, where a 20-something Maulana from Delhi seeks \nto provoke the VHP representative at the table. Or in guest-house \ndebates on topics such as Islamic law, feminism, environmentalism and \nKashmir.<br />\n<br />\n\nThe videos, shot by a participant, include stadium scenes, a minibus ride returning from\n the stadium, a sunset stop, friendly dances, and a peculiar atmosphere that hangs over this high-altitude encounter. <br /><br /><br />",
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"title": "A Season of Footage and Films Part 8. The City Plays Itself",
"header": "<div style=\"text-align: center;\"><span style=\"color: orange;\">Sunday, February 12, 6:30 pm </span><br />CAMP <a href=\"http://camputer.org/campstudio.html\">roof</a><br /></div>\n<div style=\"text-align: center;\"><br /><span style=\"font-weight: bold;\">Bandra in Bollywood</span><br />Amrit Gangar<br />2006,75 mins<br /><br /><span style=\"font-weight: bold;\">Los Angeles Plays Itself</span><br />Thom Anderson<br />2003, 179 mins<br /><br /></div>",
"body": "<br />\nTwo films by film critics, who cut and paste two very different paths into cities (or neighbourhoods) that \"play themselves\", in \ncinema. <br />\nIn Los Angeles and in Bandra, it was possible to make a film\n about this idea, rather than write a book, a review, or a conference paper. It was not possible to \"release\" the resulting films but they still, as you can see, have a life of their own. <br />\n",
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"shortname": "4dylan",
"title": "A Season of Footage and Films Part 9. Four Times Bob. ",
"header": "<div style=\"text-align: center;\"><span style=\"color: orange;\">on Saturday, February 19th</span><br />7:00 pm onwards<br />CAMP <a href=\"../campstudio.html\" target=\"_blank\">roof</a><br /><br style=\"font-weight: bold;\" /><span style=\"font-weight: bold;\">Four Times Bob</span><br />A cut of four films on Bob Dylan.<br />100 mins. <br /></div>\n<br />",
"body": "<br />In this screening, Sanjay Bhangar produces a cut from four films on Bob Dylan, including: <br /><br />1&gt;<b> Don't Look Back</b>\n ( D.A. Pennebaker, 1967, 96 mins) a landmark; as a film and as a \ndocument of rock history. Directed by Pennebaker, one of the \npioneers of direct cinema, the film starts with one of the first-of-its \nkind \"music videos\", and proceeds to document everything from intimate \nlate-night moments to live performances in Dylan's 1965 tour of \nEngland.&nbsp;&nbsp; <br />\n\n<br />2&gt;<b> Eat The Document</b> ( Bob Dylan,1972, 54 mins) : In 1966, \nPennebaker once again accompanied Dylan on his tour of the UK - this \ntime Dylan had 'gone electric', with The Hawks backing him through the \nsecond half of his performance. After this tour, Dylan would not allow \nPennebaker to complete the film. Eventually, Dylan and Howard Alk spent \nsome time editing what became \"Eat the Document\", a widely bootlegged \npiece of video material.<br />\n\n<br />3&gt; <b>No Direction Home</b> ( Martin Scorsese, 2005, 208 mins) :&nbsp;\n This film is a series of interviews with Dylan himself, Joan Baez and \nothers. The film inter-cuts the interviews with pieces of footage taken \nfrom earlier films, piecing together Dylan's life from his arrival in \nNew York City in '61 up until his motorcycle accident in '66.<br />\n\n<br />4&gt;<b> I'm Not There</b> ( Todd Haynes, 2007, 135 mins) : This film\n has six characters enacting different 'ghosts' of Bob Dylan. The movie \ncontains many, sometimes surreal, re-enactments of scenes from archival \nfootage, mostly from the above films.<br />\n<br />\n<br />\"here lies bob dylan<br />murdered<br />from behind<br />by trembling flesh<br />who after being refused by Lazarus,<br />jumped on him<br />for solitude<br />but was amazed to discover<br />that he was already<br />a streetcar &amp;<br />\n\nthat was exactly the end<br />of bob dylan<br /><br />he now lies in Mrs. Actually's<br />beauty parlor<br />God rest his soul<br />&amp; his rudeness<br /><br />two brothers<br />&amp; a naked mama's boy<br />who looks like Jesus Christ<br />\n\ncan now share the remains<br />of his sickness<br />&amp; his phone numbers<br /><br />there is no strength<br />to give away -<br />everybody now<br />can just have it back<br /><br />here lies bob dylan<br />demolished by Vienna politeness-<br />\n\nwhich will now claim to have invented him<br />the cool people can<br />now write Fugues about him<br />&amp; Cupid can now kick over his kerosene lamp<br />boy dylan-killed by a discarded Oedipus<br />who turned<br />around<br />to investigate a ghost<br />\n\n&amp; discovered that<br />the ghost too<br />was more than one person.\"<br /><br />- Bob Dylan, Tarantula, 1965-66<br /><br /><br />",
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"image": "4dylan.jpg",
"postedby": "undefined",
"datestart": "2011-02-19",
"dateend": "2011-02-20",
"dateadded": "2011-02-18T12:36:16Z",
"datemodified": null,
"published": 1,
"view": 1,
"place": null,
"parentid": 120
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},
{
"model": "content.content",
"pk": 140,
"fields": {
"type": 2,
"shortname": "dharavi",
"title": "A Season of Footage and Films. Part 10. Women at Work",
"header": "<div style=\"text-align: center;\"><span style=\"color: orange;\">Sunday, February 27, 7:00 pm </span><br />CAMP <a href=\"../campstudio.html\">roof</a><br /><br /></div>\n<div style=\"text-align: center;\">Footage from the <br /><span style=\"font-weight: bold;\">Dharavi Documentation Project</span><br />Richa Hushing with Tapan Vyas and Rrivvu laha<br />2008. 180 minutes<br /></div>",
"body": "Film-maker Richa Hushing, with camerapersons Tapan Vyas and Rrivu Laha,\n take us through Koliwada and Kumbharwada in Dharavi. The footage visits\n a kiln, a congested road, a fish market and a number of workshops. It \nlooks at women, who make a formidable percentage of the total workforce \nin Dharavi, and the objects and spaces they interact with while they work\n (leather belts, fish, pots, terraces). The material was shot in 2008 \naround when the Dharavi Re-development Project was put on hold and is \nsourced from the Dharavi Documentation Project in <a href=\"http://pad.ma/\" target=\"_blank\">pad.ma</a> and is part of the digital image archive, Godaam (Majlis).<br />\n\n<br />",
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"image": "dharavi.jpg",
"postedby": "undefined",
"datestart": "2011-02-27",
"dateend": "2011-02-28",
"dateadded": "2011-02-26T21:33:01Z",
"datemodified": null,
"published": 1,
"view": 2,
"place": null,
"parentid": 120
}
},
{
"model": "content.content",
"pk": 141,
"fields": {
"type": 2,
"shortname": "jaarsharjah",
"title": "Al Jaar Qabla al Daar at Sharjah Biennial 10",
"header": "A 72-minute film resulting from a video project shot in Jerusalem/ Al Quds with eight palestinian families, from and around their homes. Screenings are every 90 minutes starting 10 am, the last screening is at 8 pm. At Bait Al Serkal, <span style=\"color: orange;\">Upto May 7, 2011. </span><br />",
"body": "A note in the catalogue, by Florian Schneider:<br /><br />CAMP<br />Al Jaar Qabla al Daar <br />(The Neighbour before the House)<br />\nJerusalem, 2009<br /><br />When the Israeli government demolished the \nMoroccan Quarter in 1967, it was the fifth and smallest of old \nJerusalem's neighbourhoods. Private property was converted into public \nspace: the former Moroccan Quarter is now a large open plaza leading up \nto the Western Wall, in use as an open-air synagogue.<br />\n<br />At first glance, the idea of a neighbourhood appears as the most \nobvious contradiction to the series of displacements, deferrals, \ndistortions and fault lines existing on the surface of this highly \nvolatile, contested and segmented city.&nbsp; <br />\n<br />Neighbours are supposed to know each other. The neighbourhood is \nthat part of the otherwise anonymous cityscape, where one is recognised,\n or where the subject is hailed. Neighbours can encounter each other \nwithout technical mediation; they meet and greet face to face, \neverything is within walking distance.&nbsp; Such a more or less homogenous \nlocal environment is ruled by specific circumstances that are \ncharacterised precisely by the fact that they are not globally valid, \nthat are not exchangeable or even communicable. It is grounded in the \nproduction of a self that claims the right to the given territory: to be\n exactly and exclusively here, often as a result of ownership or \nproperty.<br />\n<br />But this idealised notion of a setting and the staging for the \nproduction of&nbsp; \u00e2\u20ac\u02dceveryday life\u00e2\u20ac\u2122 on the threshold of public and private \nspace, needs to be governed by an archaic rule that prevents the self \nfrom selfishness: watch out for the neighbour and \"love him or her as \nyourself!\" The Golden Rule of ethical reciprocity and fair play \u00e2\u20ac\u201c -doing\n as one would be done by \u00e2\u20ac\u201c treats the neighbour as the \"other\", who then\n becomes universal. The homogenisation of a local environment as a \n\u00e2\u20ac\u02dcneighbourhood\u00e2\u20ac\u2122 then correlates with the moral purification of a \ncommunity, a people, or humankind.<br />\n<br />What we can see in the video project Al Jaar Qabla al Daar, is a \nneighbourhood in a state of permanent crisis. Spatial proximity does not\n produce any sense of community, but does the opposite. What was private\n space becomes public; what was private life becomes political. <br />\n<br />Al Jaar Qabla Al Daar&nbsp; sets out to reverse engineer&nbsp; the \nneighbourhood as a machine for self-monitoring and surveillance, one \nthat normally turns contingency into consistency and the visible into \nthe sensible.&nbsp; Here the neighbourhood can only be encountered through a \ntechnological device that produces closeness and remoteness, which would\n otherwise remain entirely abstract. The constant zooming in and zooming\n out of the camera constitutes a rather peculiar artificiality of the \npicture: operational by a factor X that multiplies the amount of \ndetailed information at the price of context. This is a regime of \nvisibility that promises to provide access to what would otherwise, and \nin the true sense of the word, be inaccessible, since one would not be \nallowed to go there, or know how to understand what is going on.<br />\n<br />The results are profane and deconsecrated icons that map lost \nproperties as robbed and removed social relationships. And this is \neverything but self-explanatory: one needs a speech that goes against \nthe grain of the all too obvious status quo. A speech that reads out the\n secrets of dispossession and renders every property decipherable as an \nappropriation; that is twisted and oblique, but nevertheless takes place\n in the first person.&nbsp; <br />\n<br />It is the iconic quality of the pictures, their status as \noperational images, that marks the impossibility to make \"a film\" in the\n first place.&nbsp; The neighbourhood is scattered and inaccessible, the \nneighbour is turning out to be&nbsp; a monster. Going beyond the technical \nmisuse of surveillance technologies, the filming methods open up to new \npotentials: a house becomes a support for a camera, a sort of tripod \nbuilt from stones. The petrified position of the camera only allows \nmovements on a fragile surface of the image. It is not possible to \nchange the perspective and switch from one self to another.<br />\n<br />There is an unforeseeable and incalculable quality of the material \nitself: the self-centeredness of the picture does not pretend to include\n or exclude anything or anyone; it can be virtually anywhere. It opens \nup a third realm that is neither subjective nor objective, a space which\n may be characterised by a new, radical form of hospitality that could \nallow us to escape the discourses of property, security and paranoia.<br />\n<br /><br /><br /><br />",
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"image": "Jarrah_hanoun_motherpeeping.jpg",
"postedby": "undefined",
"datestart": "2011-03-12",
"dateend": "2011-05-07",
"dateadded": "2011-03-17T08:34:14Z",
"datemodified": null,
"published": 1,
"view": 3,
"place": null,
"parentid": 98
}
},
{
"model": "content.content",
"pk": 142,
"fields": {
"type": 5,
"shortname": "countryoftheblind",
"title": "The Country of the Blind, and Other Stories",
"header": "60 minute film produced with the National Coastwatch Institution, Folkestone, Kent, UK.<br />showing at the NCI cabin at Copt Point (10:30 am - 5:00 pm) and in pubs in Folkestone harbour, <br />as part of the Folkestone Triennial <span style=\"color: orange;\">upto September 25, 2011.</span><br />",
"body": "<p><font size=\"3\"> Our text in the triennial catalogue, \"A Million Miles from Home\"</font></p>\n<font size=\"3\">\n<p></p>\n</font>\n\n<p><font size=\"3\">What could it mean to extend \u00e2\u20ac\u0153watching the coast\u00e2\u20ac\u009d to \u00e2\u20ac\u0153filming the sea\u00e2\u20ac\u009d?\nAre there any National Sea Film Institutions? There should be. <br /></font></p>\n<font size=\"3\">\n\n\n<p> Because on the one hand, as the anthropologist Michael Taussig describes it,\nthe modern sea<i> is</i> an image, a wallpaper\nbackdrop for a Malibu or Folkestone lifestyle. On the other hand, in mostly\ninvisible movements, the seas transport more than 90% of all global trade. So from\nany given coastline, the sea is an image, and it is not, too. Images of the sea remind\nus of this situation precisely: that what you can see is always just the surface, the proverbial\ntip of the iceberg. <br /></p>\n\n\n<p>One eye or two? The inorganic, technological eye not only extends, but exacerbates human\nvision (i.e. could also make it worse).<br />In a way, every optical instrument produces a new visual \u00e2\u20ac\u0153medium\u00e2\u20ac\u009d, \nlike painting or television. A telescope is a medium. So is radar. So is\n a wink. Such mediations and their effects enter parasitic exchanges \nwith other mediums like film or photography. For instance in the 18th \nCentury seaside Camera Obscura, before cinema, outside which people would often line \nup and pay good money, just to see an image of the <span style=\"font-style: italic;\">very same \noutside</span> they just walked in from. This kind of power is not only a technical \nmatter (it is), but also a matter of context: the lines were longest \nwhen there were lovers on the beach.</p>\n<p>For the NCI Folkestone, the usual area of interest is the immediate vicinity of\nCopt Point, a \u00e2\u20ac\u0153blind spot\u00e2\u20ac\u009d for Dover Coastguard. But binoculars don't have speed limits, or built-in censors.\nIn other words, what can be seen <span style=\"font-style: italic;\">is</span> somehow uncontrollable. It will include banana carriers and gin palaces and local fishermen that one knows. The open sea makes it impossible to\nwatch only protectively, it asks us to watch longingly, embarrassedly and helplessly too. <br /></p>\n\n\n<p>There is a room behind the film that you see here, full of voices, radio, and conversations. As the nature of watching\nshifts, sound does too, and we hear the overlap and struggles for space between different \u00e2\u20ac\u0153sources\u00e2\u20ac\u009d:\ncoastguard radio, AIS, google searches, personal memories, shared\nhumour, BBC radio. <br /><br /></p>\n\n\n<p>In the so-called \u00e2\u20ac\u0153big society\u00e2\u20ac\u009d, volunteers will self-organise to do\nwhat the state now does. Education, basic services, and policing. But surely\none of the preconditions of voluntary work is to be able to determine one\u00e2\u20ac\u2122s own\nsense of what duty is: and in which way one chooses to become part of the images\none sees, or films.&nbsp;</p>\n<p><br /></p>\n\n\n\n\n\n\n<style>\n<!--\n /* Font Definitions */\n@font-face\n\t{font-family:Calibri;\n\tpanose-1:2 15 5 2 2 2 4 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:3 0 0 0 1 0;}\n@font-face\n\t{font-family:Cambria;\n\tpanose-1:2 4 5 3 5 4 6 3 2 4;\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:3 0 0 0 1 0;}\n@font-face\n\t{font-family:\"Lucida Grande\";\n\tmso-font-charset:0;\n\tmso-generic-font-family:auto;\n\tmso-font-pitch:variable;\n\tmso-font-signature:3 0 0 0 1 0;}\n /* Style Definitions */\np.MsoNormal, li.MsoNormal, div.MsoNormal\n\t{mso-style-parent:\"\";\n\tmargin-top:0in;\n\tmargin-right:0in;\n\tmargin-bottom:10.0pt;\n\tmargin-left:0in;\n\tmso-pagination:widow-orphan;\n\tfont-size:12.0pt;\n\tfont-family:\"Times New Roman\";\n\tmso-ascii-font-family:Cambria;\n\tmso-fareast-font-family:Cambria;\n\tmso-hansi-font-family:Cambria;\n\tmso-bidi-font-family:\"Times New Roman\";}\n@page Section1\n\t{size:8.5in 11.0in;\n\tmargin:40.5pt 1.25in 1.0in 1.25in;\n\tmso-header-margin:.5in;\n\tmso-footer-margin:.5in;\n\tmso-paper-source:0;}\ndiv.Section1\n\t{page:Section1;}\n-->\n</style>\n\n\n<p>Shot list:</p>\n\n\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">00:05</span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\"> Fire in the warren, but Viking Princess leaves harbour</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">00:56</span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\"> Sea Shell and struggles with a pot<span style=\"mso-spacerun:\nyes\">&nbsp; </span></span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">04:03</span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\"> Peter and Peter picking pots<br /></span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">05:31</span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\"> Fisheries Patrol!</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">08 04</span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\"> Genesis outside a decommissioned harbour</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">08:49</span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\"> A phone call </span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">10:48 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Bombin\u00e2\u20ac\u2122 it into the harbour, past all the boats there</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">12:19 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">That clock has been repaired</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">13:05 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Gandhi-jaan comes to Folkestone harbour</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">15:16&nbsp;</span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">E-N-O-T-S-E-K-Lovibond-Obsolete-Fishing <span style=\"mso-spacerun: yes\">&nbsp;</span></span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">15:51 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">The Burstin and news on the radio</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">16:22 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">The Mermaid</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">16:37 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Olympic tickets</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">16:59 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Paddling on Sunny Sands</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">17:39 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Canoeist? Kayaker? <br /></span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">18:27 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Wind blows the magpies, can\u00e2\u20ac\u2122t see Dover</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">19:35 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Dramatic but dangerous</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">20:36</span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">&nbsp;P &amp;O ferry sheltering from the storm</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">21:27 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Stone from the Needles</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">22:32 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">You were a P &amp; O guy, weren\u00e2\u20ac\u2122t you?</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">23:31 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Saga Ruby leaves Dover for the fjords.</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">28:12 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Norwegian Sun</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">29:00 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">MSC Orchestra</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">29:27 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">The largest container ship in the world</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">31:35 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">The Algerian Navy</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">32:55 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">The Royal Navy</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">33:54 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">The Belgian Navy</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">34:31 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Unknown</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">34:56 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Its there, but you can\u00e2\u20ac\u2122t see it</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">35:48 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Shabab Oman</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">36:09 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Lady Shana and MOL Magnificent</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">36:35 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">COSCO Indian Ocean</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">37:43 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">More boxes going south</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">38:09 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Nouadhibou</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">39:15 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">A pan of the French coastline</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">41:10 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">CMA CGM and, is it an island?</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">42:18 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Dungeness</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">42:35 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Drilling platform on the Osprey</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">42:47 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Is it a plane, or just the wings?</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">43:07 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">A close call</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">45:43 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">In contravention of Rule 10 of the collision regulations</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">46:06 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Gin palace<b style=\"mso-bidi-font-weight:normal\"> </b></span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">46:36 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Finally, a rainbow you can see</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">47:04 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">UK Border Agency, formerly Customs and Excise</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">47:48 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Water cannon in the front</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">48:21 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Anglian Monarch</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">49:28 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Dave Watkins</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">50:45 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Survey vessel</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">51:13 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Playing survey-survey in the harbour</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">51:25 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Extremely close-up</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">51:40 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Police boat with many empty seats</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">52:27 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Up and Under</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">54:10 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">An invasion of seagulls</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;tab-stops:center 3.0in;mso-layout-grid-align:none;\ntext-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">54:41 </span></b><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">The \u00e2\u20ac\u0153Archbishop\u00e2\u20ac\u009d<span style=\"mso-tab-count:1\"> and the dig<br /></span></span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">56:38 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Gurkhas on the east cliff</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">57:16 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Where are you?</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">57:55 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">(Sky)diver and a poem</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">59:12 </span></b><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\">Rescue</span></p>\n\n<p class=\"MsoNormal\" style=\"margin-bottom: 0.0001pt; line-height: 150%;\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"mso-bidi-font-size:9.0pt;\nline-height:150%;font-family:Calibri;mso-ascii-theme-font:major-latin;\nmso-hansi-theme-font:major-latin;mso-bidi-font-family:&quot;Lucida Grande&quot;\">59:46 </span></b><span style=\"line-height: 150%; font-family: Calibri;\">Watchkeeper and biscuit after a hard days work</span></p>\n<p class=\"MsoNormal\" style=\"margin-bottom:0in;margin-bottom:.0001pt;line-height:\n150%;mso-pagination:none;mso-layout-grid-align:none;text-autospace:none\"><span style=\"mso-bidi-font-size:9.0pt;line-height:150%;font-family:Calibri;\nmso-ascii-theme-font:major-latin;mso-hansi-theme-font:major-latin;mso-bidi-font-family:\n&quot;Lucida Grande&quot;\"><br /></span></p>\n\n\n</font>",
"schedule": "A project by: Shaina Anand, Iyesha Geeth Abbas, Ashok Sukumaran and Guy Mannes-Abbott<br /><br />\nProduced by Folkestone Triennial 2011, curated by Andrea Schlieker<br />\n<br />\nAt the NCI, thanks to \n\n\n\n<br />\nTrevor Hughes<br />\nAndrew Lovibond<br />\nAndy Pope<br />\nCiaran Casey<br />\nFrank Pope <br />\nBev Sheppard<br />\nRoger Goody<br />\nEric Harris<br />\nAnne Houghton <br />\nGraham Pay<br />\nTony Hutt<br />\nDick Liggett<br />\nChris Hutchinson\n<div>John Keeble<br />\nLen Price <br />\nMike Stranks <br /></div>\n<blockquote class=\"gmail_quote\" style=\"margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex\">\n<div class=\"gmail_quote\">\n</div></blockquote>\n<div>Mavis Taylor <br />Ken Humphrey <br />\nJohn Roberts <br /></div>\n\n<blockquote class=\"gmail_quote\" style=\"margin:0pt 0pt 0pt 0.8ex;border-left:1px solid rgb(204, 204, 204);padding-left:1ex\">\n<div class=\"gmail_quote\">\n</div></blockquote>\n<div>&nbsp;</div>\n\nwith thanks to Mukul Patel (sound), Zinnia Ambapardiwala, Sanjay Bhangar, and Aarthi Parthasarathy (at CAMP)<br /><br />\nand further thanks to Annett Busch, Florian Schneider, Annemie Maes, Tarek Abou El Fetouh, Trudi Mann (all for Brussels), \nJennifer Thatcher, Niamh Sullivan (at the Triennial), and people at the Ship Inn, the Mariner, the True Briton and Gillespie's (in the Folkestone harbour). <br /><br />",
"schedulebutton": "Credits",
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"image": "02countryoftheblind.jpg",
"postedby": "undefined",
"datestart": "2011-06-25",
"dateend": "2011-07-15",
"dateadded": "2011-06-29T19:20:51Z",
"datemodified": null,
"published": 1,
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}
},
{
"model": "content.content",
"pk": 143,
"fields": {
"type": 2,
"shortname": "new_neighbour",
"title": "The Neighbour Before the House Screening at New Museum ",
"header": "Al Jaar Qabla Al Daar<br />\n <br />\n\nScreening and discussion with Ashok Sukumaran and Shaina Anand <br />New Museum Theater</p>\nNew York<br />\n<span style=\"color: orange;\">Saturday 16 July 2011 2:00pm</span><br />\n<br />\n",
"body": "http://www.newmuseum.org/events/560",
"schedule": "<br /><br />",
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"image": "camptheneighbourbeforethehouse.jpg",
"postedby": "undefined",
"datestart": "2011-07-16",
"dateend": "2011-07-17",
"dateadded": "2011-07-04T05:40:57Z",
"datemodified": null,
"published": 1,
"view": 1,
"place": null,
"parentid": 98
}
},
{
"model": "content.content",
"pk": 144,
"fields": {
"type": 0,
"shortname": "loveoftechnology",
"title": "CAMP, or the love of technology",
"header": "CAMP talk at the New Museum, New York<br /><span style=\"color: orange;\">Friday 22nd July, 2011</span><br />7:00 pm - 9:00 pm<br />",
"body": "<br />Lets bring some things back to the table: media/ mediation, \ntechnology, collaboration... all things between things. Since we realize that mediation is everywhere, and is not just a feature of new media or electronic forms. The sea is a medium for trade and for piracy, an organisation (such as CAMP) is a\n medium for what \"messages\" it can produce, electricity is a medium for not only energy, personal consumption and family life, but also global struggles around raw materials and \ndistribution infrastructure. <br /><br />How to make art that nestles in such a world, and tries to influence it? Our own approach has been to work with the ideologies, \naffordances and breaking points of \"media\" ranging from cycle rickshaws,\n wooden ships, state records, web browsers, basic infrastructures like \nwater and electricity, to institutional environments such as CCTV control \nrooms and archives.&nbsp; The capacities of these mediums are called upon to transmit, evoke or construct a larger, less \ninstrumental world, despite the medium's own tendency towards invisibility. <br /><br />This talk, screening and discussion consists of \nfive proposals to go past the impoverished metaphor of \"networks\", and \nask what a more full-blooded love of technology could look like: for art, \ncollectivity and politics.<br /><br />Discussant: Gunalan Nadarajan<br />",
"schedule": "",
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"image": "piggyback.jpg",
"postedby": "undefined",
"datestart": "2011-07-22",
"dateend": "2011-07-23",
"dateadded": "2011-07-17T19:07:33Z",
"datemodified": null,
"published": 1,
"view": 2,
"place": null,
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}
},
{
"model": "content.content",
"pk": 145,
"fields": {
"type": 2,
"shortname": "possible",
"title": "Pad.ma, and the possible",
"header": "<br />New Museum Theater<br />235 Bowery, NYC <br /><span style=\"color: orange;\">7:00 pm Thursday, 28 July, 2011 </span><br />",
"body": "Presented by Shaina A. and Ashok S. <br />Three years ago, CAMP co-initiated the online footage archive PAD.MA. \nThis was a specific proposal for how video material could exist and be \n\u00e2\u20ac\u0153thrown forth\u00e2\u20ac\u009d beyond the limits of the filmmaking economy, and differently from \nYouTube. Now containing several hundred hours of densely annotated, \ntranscribed, and open-access footage, PAD.MA poses many questions for \ndigital archiving, film, and online video. It also seeds a set of \npossibilities and practices around footage, distribution, screening, \nreferencing, and writing through video. Its implications for the contexts of\n art, documentary, and theory will be the subject of this presentation.",
"schedule": "",
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"image": "padmalogo.png",
"postedby": "undefined",
"datestart": "2011-07-28",
"dateend": "2011-07-29",
"dateadded": "2011-07-30T17:35:38Z",
"datemodified": null,
"published": 1,
"view": 1,
"place": null,
"parentid": 19
}
},
{
"model": "content.content",
"pk": 146,
"fields": {
"type": 0,
"shortname": "twostages",
"title": "CAMP: Two Stages of Invention",
"header": "Experimenter, Kolkata<br /><span style=\"color: orange;\">September 23, 2011 - December 8, 2011</span><br /><br />This exhibition proposes an after-form and before-form for two of \r\nart's (and our own) usual objects. The first is a film that was shot over last\r\n year on the English Channel that is now re-installed in Kolkata, making a certain claim for its universality. \r\nThe second is a \"not-yet-film\" treatment of the \r\nRadia leaks as a screenplay, with an audio guide as its \r\nsoundtrack. Both these are moments lit up by separate alignments of, broadly, government, \r\ntechnology, and opportunity...<br />",
"body": "<i><br />\r\nTWO STAGES OF INVENTION</i> <br /><br />In a recent CAMP project in Folkestone on the English Channel,&nbsp;volunteer guards filmed the sea through their telescopes for over a year, in a reinvention of \"duty\", a cultivation of new interests and humour, and an untooling of tools, that could be seen as universal. That is, watchkeepers, timekeepers, guards, guard-machines, fishing and shipping elsewhere are implicated, but so is the <a href=\"http://en.wikipedia.org/wiki/Big_Society\">Big Society</a>, and other questions of what happens when the state \"withdraws\".&nbsp; A film made from this footage that was installed at the location it was shot in, is now put online and simultaneously installed in the gallery in Kolkata, thus moving past its own \"horizon\", and starting to act at a distance. <br /><br />Part two is a sketch in response to the question: when data leaks, how to approach this as an aesthetic problem? Which catching positions or hungry gods are invented by leaks, that did or didn't exist before? How to feel a leak, and by what means, especially at the scale at which recent digital leaks have occurred?&nbsp; In the case of the <a href=\"http://powertapes.pad.ma/browse\">Radia tapes</a>, TV-sized sound bytes were enough to make us all engaged voyeurs.&nbsp; But perhaps a more interesting kind of feeling, recognition, or effect, lies somewhere between the allure of individual conversations, and the big dump of information that the leak represents... a level that has to be invented. Suggesting such a level in the exhibition is a screenplay treatment based on the Radia tapes released so far, along with a comprehensive \"audio guide\" as its soundtrack. <br /><br /> If creativity is chain-like, with inspiration, calculation, handover, surrender, and revelatory events \r\nin the world all appearing regularly, then what part of this is to be \r\ndisplayed?&nbsp; No, we don't have to exhibit artistic \"process\" as \r\nincompleteness, waiting, and so on. The proposal here is the opposite one: that \"process\" is best viewed as a concrete set of \r\nstages, each of which offers a certain space for invention. <br /><br /><br />",
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"model": "content.content",
"pk": 147,
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"shortname": "saveas",
"title": "Save As - India",
"header": "Workshop, screening and exhibition as part of India Film Week, Trondheim, Norway<br />October 4-9, 2011<br />",
"body": "Screening of<br />Al Jaar Qabla al Daar, 2010<br />a Film Symposium presentation by Shaina Anand, <br />and<br />Tools, Tours and Travels with Pad.ma (including the film Disket Document, Shaina Anand 2001-2011)<br />an exhibition at <a href=\"http://samtidskunst.no\">TSSK</a> and workshop with students of the KIT Art Academy, <br />as part of the Save As-India project, coordinated by Florian Schnieder. <br /><br /><br /><br />",
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"datestart": "2011-10-04",
"dateend": "2011-11-08",
"dateadded": "2011-09-22T20:29:34Z",
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"model": "content.content",
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"shortname": "infra-aesthetics",
"title": "The Aesthetics of Infrastructure",
"header": "November 21, 2011<br /><br />\nAshok Sukumaran is part of the current Cubitt <a href=\"http://cubittartists.org.uk/2011/10/27/the-city-is-a-burning-blazing-bonfire/\">exhibition</a> \"The \nCity is a Blazing, Burning Bonfire\". He proposed this discussion as a way of \nlistening to Owen Hatherley's evocation of a \nvital and equitable modernist style, while exploring \"infrastructure\" as\n a reality and metaphor of distribution systems, technological affect, and \nstruggles to build. <br /><br />\"The \nCity is a Blazing, Burning Bonfire\"<br />23 October 2011 - 28 December 2012 <br />\n ",
"body": "<br />* Among\n the peculiar ways in which modernism <span style=\"font-style: italic;\">as style</span> developed in the Indian \n\"subcontinent\", two big families of structures are still standing. One could be called PWD (public works department) style, the \naftermath of socialist modernism \nin the Nehru/ Corbusier era, whose \"temples of modernity\" also \ntrickled down into blocks of \nflats, electrical substations, milk booths, neighbourhood water tanks \nand \nother structures that deliberately ignored traditional aesthetics,\n practices and markets, in the attempt to build a new society. The second would be what Ravi \nSundaram\n has called \"pirate modernity\", the non-ideological and often \nnon-legal proliferations that arose to fill in \ngaps in the grid, so to speak, and by which large populations have \naccessed water, energy, films, music, resources and ideas. \nThe \ncurrent situation is of intense commercial and \"global\" pressures on \nthese \nregimes, both of which have a strong aesthetic and egalitarian \ndimension. Contemporary infrastructures (attempts to produce or evoke \nthe equitable, open, accessible, or exciting at a certain scale; similar\n to traditional public spaces, by \ndifferent actors including artists, architects, community groups, \ntechnologists, the state, etc) are looking at the victories and \nlosses \nsustained by \nthese and other standing structures, in attempts to imagine and build new ones. \nYet infrastructures are complex beasts, also capable of great divides between what they look like, and what they do. Hence, aesthetics. *<br /><br /><br /> Ashok Sukumaran is an artist. He has an interest in archaeologies and materialities of technology, and in aesthetics \nbeyond art.<br />Owen Hatherley is a writer and architecture critic. He is the author of Militant Modernism, 2009,&nbsp; A Guide to the New \nRuins of Great Britain, 2010, and Uncommon, about the pop group Pulp, 2011. <br />",
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"dateadded": "2011-11-21T14:32:10Z",
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"shortname": "YBCA",
"title": "The Neighbour before the House at Yerba Beuna Center for the Arts",
"header": "Al Jaar Qabla Al Daar (The neighbour before the house) <br />\n72 minutes<br />\nis part of <br />\n<span style=\"color: orange;\">The Matter Within </span><br />\nat <br />\nYerba Buena Center for the Arts <br />\nSan Francisco<br /><span style=\"color: orange;\">October 15 2011 - January 29 2012</span><br />",
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"datestart": "2011-10-15",
"dateend": "2012-01-30",
"dateadded": "2011-12-05T15:27:36Z",
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{
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"type": 2,
"shortname": "Volte",
"title": "The Neighbour Before the House at Volte Gallery",
"header": "Al Jaar Qabla Al Daar <br />at Volte Gallery, Mumbai <br />as part of <br /><span style=\"color: orange;\">Your Name is Different Here</span> curated by Nancy Adajania <br /><span style=\"color: orange;\">December 3 2011 - January 5 2012 </span><br />",
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"datestart": "2011-12-03",
"dateend": "2012-01-06",
"dateadded": "2011-12-06T20:27:56Z",
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{
"model": "content.content",
"pk": 153,
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"type": 0,
"shortname": "acts",
"title": "2012 New Museum Triennial ",
"header": "<span style=\"color: orange;\">February 14, 2012 to April 22, 2012 </span><br /><br />\r\nThe Ungovernables <br />New Museum, New York<br />\r\n<b><i><br /><span style=\"color: orange;\"><span style=\"color: orange;\">Act I:</span>&nbsp; Swearing In Whispers, 2012 </span></i></b><br />\r\nscreenplay, phone lines. <br />\r\n\r\n\r\n<br />\r\n<b style=\"color: orange;\"><i>Act II: <span class=\"il\">Hum</span> <span class=\"il\">Logos</span>,&nbsp; 2012</i></b><br />\r\nphone audio, projected subtitles and text.<br /><br />Based on the Radia Phone Tap(e)s<br /><br />The lobbyist is a rhetorician-in-private, group persuader and network \r\nplayer. When her government-tapped phone conversations leak (the Radia Tapes, 2009-) they \r\nundergo multiple \"phase shifts\", becoming TV sound-bytes, scam\r\n proofs, lengthy transcripts with short urls. <br />",
"body": "<br />\r\nAct I is a screenplay in which some of these texts re-group, trying \r\nto again become images, and sounds. Threatening to appear in a certain \r\nthree-hour, melodramatic format. This screenplay is based on \r\nfour days of the Radia tap(e)s, prior to the formation of the \r\ncabinet of ministers after Indian general elections in 2009. <br /><br /><br />\r\nAct II is a film that begins where the screenplay ends. It is more \r\nmodest, perhaps imagining life as an online video. It begins when some \r\ntop journalists claim that they were just lying to Radia \"a source\" on the phone, their \r\nconversations had no basis in and impact on reality. This paradoxically \r\nopens a window into the&nbsp; broader spectrum of rhetorics: including lies, \r\ncries, memes, pen drives, bad networks and family feuds, pulsing through the nervous system of Indian democracy.<br />",
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div.MsoNormal\r\n\t{mso-style-parent:\"\";\r\n\tmargin-top:0cm;\r\n\tmargin-right:0cm;\r\n\tmargin-bottom:10.0pt;\r\n\tmargin-left:0cm;\r\n\tmso-pagination:widow-orphan;\r\n\tfont-size:12.0pt;\r\n\tfont-family:\"Times New Roman\";\r\n\tmso-ascii-font-family:\"Times New Roman\";\r\n\tmso-ascii-theme-font:minor-latin;\r\n\tmso-fareast-font-family:\"Times New Roman\";\r\n\tmso-fareast-theme-font:minor-fareast;\r\n\tmso-hansi-font-family:\"Times New Roman\";\r\n\tmso-hansi-theme-font:minor-latin;\r\n\tmso-bidi-font-family:\"Times New Roman\";\r\n\tmso-bidi-theme-font:minor-bidi;\r\n\tmso-ansi-language:EN-US;}\r\n@page Section1\r\n\t{size:612.0pt 792.0pt;\r\n\tmargin:72.0pt 90.0pt 72.0pt 90.0pt;\r\n\tmso-header-margin:36.0pt;\r\n\tmso-footer-margin:36.0pt;\r\n\tmso-paper-source:0;}\r\ndiv.Section1\r\n\t{page:Section1;}\r\n-->\r\n</style>\r\n\r\n\r\n\r\n\r\n\r\n\r\n<p style=\"font-family: arial;\" class=\"MsoNormal\"><font size=\"1\"><span style=\"font-size: 14pt;\" lang=\"EN-US\">How to Feel a Leak?</span></font></p>\r\n<p class=\"MsoNormal\"><br /><font size=\"2\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"font-size:14.0pt;mso-bidi-font-size:12.0pt;font-family:Times;mso-bidi-font-family:\r\nTimes\" lang=\"EN-US\"></span></b><span style=\"font-size:11.0pt;\r\nmso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></font></p>\r\n<font size=\"2\">\r\n\r\n</font>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\" style=\"margin-left:36.0pt\"><i style=\"mso-bidi-font-style:\r\nnormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;\r\nfont-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">Niira Radia: Thereby he had fixed\r\nthe system to get a post facto decision done . . . for a natural resource. Coal\r\nis a natural resource, right?</span></i><i style=\"mso-bidi-font-style:normal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></i></p>\r\n\r\n<p class=\"MsoNormal\" style=\"margin-left:36.0pt\"><i style=\"mso-bidi-font-style:\r\nnormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;\r\nfont-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">Manish</span></i><i style=\"mso-bidi-font-style:normal\"><span style=\"font-size:11.0pt;\r\nmso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">: Yeah, yeah.</span></i><i style=\"mso-bidi-font-style:normal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></i></p>\r\n\r\n<p class=\"MsoNormal\" style=\"margin-left:36.0pt\"><i style=\"mso-bidi-font-style:\r\nnormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;\r\nfont-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">Niira Radia: OK, the second thing\r\nwas spectrum . . .</span></i><i style=\"mso-bidi-font-style:normal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></i></p>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\" style=\"margin-left:36.0pt\"><b style=\"mso-bidi-font-weight:\r\nnormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;\r\nfont-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">\u00e2\u20ac\u201dThe Radia Tapes, # 066, June 9,\r\n2009</span></b><b style=\"mso-bidi-font-weight:normal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></b></p>\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial\" lang=\"EN-US\">&nbsp;</span></p>\r\n\r\n<p class=\"MsoNormal\" style=\"margin-top:0cm;margin-right:36.0pt;margin-bottom:\r\n10.0pt;margin-left:36.0pt\"><i style=\"mso-bidi-font-style:normal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;\r\nmso-bidi-font-family:Times\" lang=\"EN-US\">The question, then, is not so much that of how to\r\nget people worked up and engaged, but rather how to perturb an operationally\r\nclosed system in such a way that the perturbation is not registered as mere\r\nnoise but rather generates information that leads to the selection of different\r\nsystem states.</span></i><i style=\"mso-bidi-font-style:normal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></i></p>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\" style=\"margin-top:0cm;margin-right:36.0pt;margin-bottom:\r\n10.0pt;margin-left:36.0pt\"><b style=\"mso-bidi-font-weight:normal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;\r\nmso-bidi-font-family:Times\" lang=\"EN-US\">\u00e2\u20ac\u201dLevi Bryant, \u00e2\u20ac\u0153Depression and Capitalism,\u00e2\u20ac\u009d June 2,\r\n2010</span></b><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\"> [http://larvalsubjects.wordpress.com/2010/06/02/depression-and-capitalism/]</span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></p>\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial\" lang=\"EN-US\">&nbsp;</span></p>\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">All systems, including\r\nso-called \u00e2\u20ac\u0153open systems,\u00e2\u20ac\u009d revel in a kind of tunnel vision. In systems theory,\r\nthis tunnel vision is called operational closure. [1] Which means\r\nthat a system only \u00e2\u20ac\u0153sees\u00e2\u20ac\u009d other parts of itself, and is open only to those\r\nexternal events it at least partly anticipates, or can organizationally\r\nprocess. The rest is noise, or blackness, or worse. (We could remind ourselves\r\nthat human-body systems did not \u00e2\u20ac\u0153expect\u00e2\u20ac\u009d nuclear radiation, and cannot process mains electricity or crude oil.) </span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></p>\r\n\r\n<br />\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">Water flowing into Mumbai\r\nfrom distant reservoirs has no way to \u00e2\u20ac\u0153feel\u00e2\u20ac\u009d the people walking on or living\r\nnext to its pipelines. The water distribution system only sees pumping\r\nstations, bends, pressures, and consumers; it hears very faintly, and cannot\r\nrecognize, the protestations coming from neighborhoods and farms that it\r\nbypasses or even, tragically, the rain that falls down all over its \u00e2\u20ac\u0153network.\u00e2\u20ac\u009d\r\nSystems simply translate all external influences into their own internal terms.\r\nSo that dharnas (protests) create only the most insignificant of ripples\r\ninside a water pipe. Operational closure appears then as a horrifying dystopia:\r\nHow do we ever connect a water system to a people or a society? How can people\r\never care for or influence a water system? If the axiom of operational closure\r\nh<span style=\"mso-spacerun: yes\"></span>olds, then it is not possible to\r\ndo this directly; we need governments, councillors, plumber mafias, money, and\r\nother powerful chains of mediators in order to make any connection at all. Is\r\nthis just the price to be paid for modern life? Or can such an ontology also\r\nlead to other consequences, other tones, especially if horror and dystopia are\r\nnot one's favorite genres? Are we ultimately looking for \"systemic reforms\", or\r\nare there other possibilities entirely?</span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></p>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size: 11pt; font-family: Arial;\" lang=\"EN-US\">Water leaks, all the time.\r\nA leaking pipe casts some doubt on its own systematicity. How open can an \u00e2\u20ac\u0153open system\u00e2\u20ac\u009d be?\r\n(How much material and energy can really be exchanged with the environment, while\r\nstill maintaining oneself as a system?) Leaks are the exact opposite of a\r\nsystem's ability to translate everything into its own terms. It is when\r\nsomething internal escapes such terms altogether, and can produce unforeseen\r\nrelations and operations, that it is said to leak. If an incoming flood into a\r\nbasement is unassimilable, disastrous, does this mean that the system has\r\nchanged state, or is it a new ecosystem altogether, with marine life and new\r\nelectrical dangers?&nbsp;Leaks, in the willful and ideological sense in which,\r\nsay, Wikileaks operates, or as the metaphorical and astructural phenomenon that\r\nRaqs Media Collective calls \u00e2\u20ac\u0153seepage,\u00e2\u20ac\u009d or as an actual battleground for\r\ninfrastructural control across the physical, chemical, wasteful, or managerial\r\naspects of the supply chains of any city, all perturb a \u00e2\u20ac\u0153systemic\u00e2\u20ac\u009d\r\nunderstanding of reality. Leaks possess timing tricks and sideways moves that\r\noften surprise and overwhelm systems. <br /></span></p>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">Leaks cannot operate in a vacuum. So their defense, on the one hand, relies on\r\na relationship with existing structures, usually an implied one of critique,\r\nwhich is only the first step in imagining what to build next. On the other\r\nhand, the promises that leaks make are necessarily vague, pointing toward an infinite,\r\nsuspended potentiality. A cloud that fills the sky but never rains . . . is a\r\nfog. More leaks, mean more fog. To say that leaks themselves are a form of\r\nfreedom is too much like saying that information is \u00e2\u20ac\u0153out there,\u00e2\u20ac\u009d or that clouds\r\nhave enough water for everyone on earth. In this situation, what we may need is\r\nwhat in the Peruvian mountains is called a \u00e2\u20ac\u0153fog catcher\u00e2\u20ac\u009d: the art and\r\nscience of luring a cloud and making it rain a bit, for you. And ideally, for\r\neveryone else in your village, too. </span><span style=\"font-size:\r\n11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></p>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">Let\u00e2\u20ac\u2122s be more concrete.\r\nLeaks are somewhat inevitable, as electricity providers, ship engineers, and\r\nbook publishers have found out. In each case, there have been ways to feed\r\nleaks back into adjoining systems of management and control. Ships have bilge pumps\r\nbut also ballast tanks. Electricity providers \u00e2\u20ac\u0153farm\u00e2\u20ac\u009d leaks by bringing them\r\ninto billing regimes, even if the recipients themselves are illegal and without\r\nidentity papers. Book publishers deploy legal threats while hastily building\r\ntheir own e-book platforms, hoping that some people would rather pay a dollar\r\nthan commit a crime. The water mafia has a keen understanding of, and hunger\r\nfor, leaks. The limits of a critique of structure are clear. In such cybernetic\r\nloops, leaks and structures become indistinguishable. Another approach is\r\nneeded. Our fog-catcher image suggests that it is not only a matter of catching\r\nor releasing leaks. It is also a matter of how to tune into them, using\r\nspecially made antennas and a collective sensibility. Ultimately, to turn them\r\ninto something else\u00e2\u20ac\u201da fog into a hot soup, a TV transmission leaking from\r\nacross the border into a VHS birthday present.&nbsp;[3] This seemingly magical\r\nproject is also one of art: of small humans trying to seduce and transform\r\nsomething large, unformatted, and unruly. </span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></p>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">This cannot be done with\r\none's \u00e2\u20ac\u0153bare hands.\u00e2\u20ac\u009d Digital leaks, for example, tend to produce a volume of\r\nmaterial that cannot be understood easily. One is awash in it, and yet unable\r\nto grasp anything. The situation suggests new aesthetic categories and new\r\ncraft.&nbsp;It need not mean that search replaces thinking or that all data has to\r\nbe \u00e2\u20ac\u0153visualized\u00e2\u20ac\u009d but that new modes engage in new struggles. The project of\r\napprehending leaks will recognize that this feeling may not be produced in a\r\ndirect way. It may involve machines, collaborations, and durations. It will\r\nrequire experimentation. </span><span style=\"font-size:11.0pt;\r\nmso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></p>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Arial;mso-bidi-font-family:Times\" lang=\"EN-US\">To embrace the leak as a\r\ncogent cultural force of our times, we need to create more levels, more senses\r\nbetween the celebration of leakiness as such, its critiques of structure, the\r\nbite-sized voyeurisms that mainstream media offers, the lengthy analyses\r\nproduced by academics and analysts, and the vast dump of information that leaks\r\nreally are. In other words, we have to figure out how to feel a leak. </span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial\" lang=\"EN-US\"></span></p>\r\n\r\n\r\n\r\n\r\n\r\n<p class=\"MsoNormal\"><span lang=\"EN-US\">&nbsp;</span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size:14.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Times;mso-bidi-font-family:Times\" lang=\"EN-US\"></span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Times;mso-bidi-font-family:\r\nTimes\" lang=\"EN-US\">1. See</span><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;mso-ascii-font-family:&quot;Times New Roman&quot;;mso-hansi-font-family:&quot;Times New Roman&quot;;\r\nmso-bidi-font-family:&quot;Times New Roman&quot;\" lang=\"EN-US\"> Humberto Maturana on operational\r\nclosure, autopoesis and self-organisation, Niklas Luhmann's subsequent and\r\nunliked-by-Maturana use of it in sociology and Levi Bryant's recent evocation\r\nof Luhmann's work in his book The Democracy of Objects (Open Humanities Press,\r\n2011). </span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt\" lang=\"EN-US\"></span></p>\r\n\r\n\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;mso-ascii-font-family:&quot;Times New Roman&quot;;mso-hansi-font-family:&quot;Times New Roman&quot;;\r\nmso-bidi-font-family:&quot;Times New Roman&quot;\" lang=\"EN-US\">2. Fog catchers are meshes stretched\r\nlike volleyball nets often on high mountain ridges in arid Peru, causing the\r\ncondensation of passing clouds into a water supply. </span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt\" lang=\"EN-US\"></span></p>\r\n\r\n<p class=\"MsoNormal\"><span style=\"font-size:11.0pt;mso-bidi-font-size:\r\n12.0pt;font-family:Times;mso-bidi-font-family:Times\" lang=\"EN-US\">3. A 1980s practice\r\ninvolving Pakistani plays, a VCR, and a Punjabi family we knew. </span><span style=\"font-size:11.0pt;mso-bidi-font-size:12.0pt\" lang=\"EN-US\"></span></p>\r\n\r\n<p class=\"MsoNormal\"><span lang=\"EN-US\">&nbsp;</span></p>\r\n\r\n<p class=\"MsoNormal\"><span lang=\"EN-US\">&nbsp;</span></p>\r\n\r\n\r\n\r\n\r\n\r\n<font size=\"1\"><span style=\"font-family: arial;\"></span></font>\r\n<p style=\"font-family: arial;\" class=\"MsoNormal\"><font size=\"1\"><span lang=\"EN-US\">&nbsp;</span></font></p>\r\n<font size=\"1\"><span style=\"font-family: arial;\">\r\n\r\n</span></font>\r\n<p style=\"font-family: arial;\" class=\"MsoNormal\"><font size=\"1\"><span lang=\"EN-US\">&nbsp;</span></font></p>\r\n<font size=\"1\"><span style=\"font-family: arial;\">\r\n\r\n</span></font>\r\n\r\n\r\n\r\n",
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"shortname": "mumbaimapping",
"title": "Mumbai Mapping Party",
"header": "Open call for anyone interested in building and fixing the openstreetmap data for Mumbai.",
"body": "<p>Open call for anyone interested in building and fixing the openstreetmap data for&nbsp;Mumbai. Meet, learn, share and map with others willing to explore the neighbourhood of Bandra on foot, bike, cycle bus or any way you want. We will create the best open map of Bandra that will exist anywhere!</p>\n<p>If you like exploring your neighbourhood, trying to learn about maps and gps, or just want to understand what openstreetmap is about, you should come. If you know how to use a pen and paper, you are good to go.</p>\n",
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"title": "Pad.ma version 2 - Launch and Screenings",
"header": "<span style=\"font-family: arial; color: orange;\">Sunday, February 26, 2012</span><br />6:30 PM<br />CAMP roof<br />301 Alif Apartments,<br />34-A Chuim Village, Khar, Bombay 400052",
"body": "This Sunday, February 26, 2012 we are pleased to announce the launch of a brand new Pad.ma, with an extensive software upgrade that is now ready to roll. Do join us in exploring the many dimensions, provocations and pleasures of the new platform. <br /><br />Sunday also marks ten years since the February 27, 2002 attack on a train in Godhra, and the anti-Muslim carnage in Gujarat that followed. We remember these events through the Shared Footage Group's (SFG) carefully shot, indexed and annotated video documentation, that is now being put online in stages. <br /><br />The evening's progamme includes an in-depth look into the new Pad.ma, both in form and content, and the screening of a short film compiled by Faiza Khan from the SFG material - reflecting on the turn of events in one basti in Ahmedabad.<br /><br />About SFG: The Shared Footage Group was a collective formed in the aftermath of the carnage in Gujarat in 2002. It consisted of&nbsp; film professionals, film students and many other volunteers. The idea was to document survivors' stories on video so that the footage could later be used free of cost by anyone interested in the material. SFG collected about 250 hours of footage that is now being put online in collaboration with Pad.ma <br /><br />About Pad.ma: <br />Pad.ma - short for Public Access Digital Media Archive - is an online archive of densely text-annotated video material, primarily footage and not finished films. We see <span class=\"st\"></span>Pad.ma as a way of opening up a set of images, intentions and effects present in video footage, that conventions of video-making, editing and spectatorship have tended to suppress. This expanded treatment then points to other, political potentials for such material, beyond the finite documentary film or the online video clip.<br />",
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"header": "Sunday, March 11 2012<br />\r\nCAMP <a href=\"http://camputer.org/campstudio.html\">roof</a><br />\r\n7:00 pm<br /><br />An evening of listening, including with our ears, to some materials that seem to not touch us directly, but make up our \"environment\".&nbsp; The question is how to \"tune into\" this environment, in ways that the mainstream media cannot do, and where the data leaks themselves are typically vast and not easy to assimilate. <br /><br />",
"body": "<br />\r\n7:00 pm<br />\r\n<span style=\"color: orange;\">Act I :</span>SWEARING-IN WHISPERS&nbsp;.&nbsp; Reading from a screenplay based on 3 days of the Radia tap(e)s, prior to the formation of the \r\ncabinet of ministers after Indian general elections in 2009. <br /><br />8:00pm<br />\r\n<span style=\"color: orange;\">Act II</span> : HUM LOGOS, a 45-minute sound+text film that begins\r\n when top journalists claim that they were just \"stringing along\" Radia,\r\n and their conversations were not based on reality. This opens up a \r\nworld of rhetorical agents: lies, pen-drives, arguments and relays that \r\nshow us (or let us &nbsp;hear) what both \"speech\"&nbsp; and meaning have \r\nbecome, in this mediated and interconnected environment. <br />\r\n<br />\r\nRecently, new claims have been made that the Radia tapes were faked \r\n(Vir Sanghvi),&nbsp; or that \"splice has been added\" (Justice Mukhopadhyay).&nbsp; \r\nIn both the presentations here, splicing, editing and stringing along are \r\nfeatures, not bugs. In other words, the point is to explore the whole spectrum: from what an edit can do, to the speaking characters, to those things one only imagines \r\ntinkling in the background. <br />\r\n<br />\r\n<br />\r\n<br />",
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"shortname": "documenta13",
"title": "at Documenta13",
"header": "Two exhibitions:<br /><br /><span style=\"font-style: italic; color: orange;\">The Boat Modes</span> in a house in the Karlsaue Park<br />and with Pad.ma on Afghan Films, in the ex-elisabeth hospital/ex-chinese restaurant. <br />",
"body": "Returning to Kassel in August for this:<br /><a href=\"http://andandand.org/events/non-capitalist-web/\">http://andandand.org/events/non-capitalist-web/</a><br /><font size=\"2\"><br /></font><br />The Boat Modes wall text:<br />\r\n<p style=\"line-height: 150%; margin: 0in 0in 0pt; font-family: courier;\"><font size=\"2\"><span style=\"line-height: 150%;\"><br /></span></font></p>\r\n\r\n<p style=\"line-height: 150%; margin: 0in 0in 0pt;\"><font size=\"2\"><span style=\"line-height: 150%;\">A <span>boat</span> has many powers: to gather a society \r\nin its making, to distribute goods, to carry people and ideas across \r\nplaces that, it seems to us, are more different than ever before. The phrase \u00e2\u20ac\u0153<span>Boat</span> <span>modes</span>\u00e2\u20ac\u009d\r\n has a practical use here, which is to express the \r\npeculiar and flexible ways in which these boats are manifest in the \r\nWestern Indian Ocean. But it also has other possibilities; such as to follow\r\n Bruno Latour in asking a question \u00e2\u20ac\u0153in a way that a specific kind of \r\nagency appears.\u00e2\u20ac\u009d A matter of tone, or key. Or to create further paths\r\n from these boats\u00e2\u20ac\u2122 continued expansion of categories such as \u00e2\u20ac\u0153sovereign\u00e2\u20ac\u009d, \r\n\u00e2\u20ac\u0153pirate\u00e2\u20ac\u009d, \u00e2\u20ac\u0153container\u00e2\u20ac\u009d, \u00e2\u20ac\u0153free trade\u00e2\u20ac\u009d, \u00e2\u20ac\u0153money\u00e2\u20ac\u009d, and \r\n\u00e2\u20ac\u0153work\u00e2\u20ac\u009d at such points where known maritime histories and economics seem to \r\nsay: \u00e2\u20ac\u0153End!\u00e2\u20ac\u009d <br />\r\n<br /><span>Modes</span> appear at the intersection of forces and environments, and are arranged here in the shape of the constellation <span>Pleiades</span>, or <i>Thurayya</i>\r\n in Gujarati and Arabic navigation maps. They accompany a film that \r\ntakes us on a journey from the Gulf of Kutch in India to the U.A.E. to \r\nSomali ports, and back. The songs in the film were all found, married to\r\n the cell-phone videos that you see. <br /></span></font></p>\r\n<p style=\"line-height: 150%; margin: 0in 0in 0pt;\"><br /><font size=\"2\"><span style=\"line-height: 150%;\"></span></font></p>\r\n<p style=\"line-height:150%;margin:0in 0in 0pt\"><font size=\"2\"><span style=\"line-height: 150%;\"></span></font><font style=\"font-family: courier;\" size=\"2\">The film is 60 minutes, and starts on the hour. </font><br /></p>\r\n<div class=\"yj6qo ajU\">\r\n<div data-tooltip=\"Show trimmed content\" id=\":1e7\" class=\"ajR\" role=\"button\" tabindex=\"0\"><img class=\"ajT\" src=\"https://mail.google.com/mail/u/0/images/cleardot.gif\" /></div></div><br />",
"schedule": "Co-commissioned by Documenta13 and the Sharjah Art Foundation<br /><br />Camera: Shaina Anand, Junas Bhagad, Mrinal Desai, Sultan Hajji, Zakir Hussain, Mohammed Rafik, Ashok Sukumaran, Siddik Umer, the crew of Safina Al Zilani, Al Madina Mangrol, Al Naved, Sabir Priya and many others. <br /><br />Editing: Shaina Anand, Sreya Chatterjee<br /><br />Cruciforms: Ashok Sukumaran, Sindhu Thirumalaisamy, Prerna Bishnoi<br /><br />With thanks to: Sanjay Bhangar, Zinnia Ambapardiwala, Ranjana Dave at CAMP <br />Fahad Bishara, Jatin Dua, Kaizad Gherda, Nida Ghouse, Engseng Ho, Eungie Joo, Faiza Khan, Altaf Makhiawala, Radhamohini Prasad, Edward Simpson, Samia Rab, Julia Stoff, Kathy Zarur, and the Foundation for Arts Initiatives. <br />",
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"title": "Electronic Ear Cleaning 2",
"header": "Swearing-in Whispers: A screenplay based on the Radia Tap(e)s<br /><br />Join us for a reading at <br /><span style=\"color: orange;\">New Museum Theater </span><br /><span style=\"color: orange;\">Thursday April 19 2012</span><br />7.pm <br />as part of \"The Ungovernables,\"2012 New Museum Triennial <br />",
"body": "Aarti Sethi, Murtaza Vali, Naeem Mohaiemen, Siddharth Lokanandi and Deepti Salopek join CAMP for the reading, which will be followed by a screening of HUM LOGOS. <br /><br /><br /><audio src=\"http://camputer.org/somefiles/ReadingRadia_NM.mp3\" controls=\"controls\"></audio><a href=\"http://camputer.org/somefiles/ReadingRadia_NM.mp3\">Download Audio</a><br /><br />This script reading and screening will present CAMP's work in the \r\nTriennial in the context of listening, rhetoric, and self-education. The\r\n Radia Tape leaks, which the work is based on, have been described as \r\n\u00e2\u20ac\u0153essential listening for anyone trying to be a journalist.\u00e2\u20ac\u009d This \r\ninvitation could be extended to anyone interested in contemporary India \r\nor in the links between communication and politics. <br /><br />\r\n<span style=\"color: orange;\">Act I :</span>&nbsp;&nbsp; Reading from Swearing-in Whispers, a screenplay based on 3 days of the Radia tap(e)s, prior to the formation of the \r\ncabinet of ministers after Indian general elections in 2009. <br /><br /><span style=\"color: orange;\">Act II</span> : Screening of HUM LOGOS, a 50-minute sound+text film that begins\r\n when top journalists claim that they were just \"stringing along\" Radia,\r\n and their conversations were not based on reality. This opens up a \r\nworld of rhetorical agents: lies, pen-drives, arguments and relays that \r\nshow us (or allow us to hear) what both \"speech\"&nbsp; and meaning have \r\nbecome, in this highly mediatised and interconnected environment. <br /><br /><br />",
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"shortname": "archivepracticum",
"title": "Archive Practicum: Dont Wait for the Archive 3",
"header": "A workshop at <br /><span style=\"color: orange;\">Afghan Films, Kabul</span><br /><span style=\"color: orange;\">March 25th to April 15th, 2012 </span><br /><br />with Shaina Anand, Vijay Chavan, Mariam Ghani, Faiza Khan, Ashok Sukumaran and members and staff of Afghan Films<br />",
"body": "To \"not <span class=\"il\">wait</span> <span class=\"il\">for</span> <span class=\"il\">the</span> <span class=\"il\">archive</span>\" is to enter <span class=\"il\">the</span> river of time sideways, a bit unnanounced, much like <span class=\"il\">the</span> digital itself did, not so long ago. (1)<br /><br />Afghan Films, <span class=\"il\">the</span> national film institute of Afghanistan, opened in 1968. In March/April 2012, we held a workshop there called '<span class=\"il\">Archive</span> Practicum', working with Afghan Films' <span class=\"il\">archive</span>, <span class=\"il\">the</span> peculiar forms of history present in it, and its possible futures. <span class=\"il\">The</span> emphasis was not only on physical preservation of films, but on asking what kinds of memory lives in these images, and in <span class=\"il\">the</span> people working with them <span class=\"il\">for</span> <span class=\"il\">the</span> past decades. <br />\n<br /><span class=\"il\">The</span> negative <span class=\"il\">archive</span>\n of Afghan Films is intact, protected and persevered by a long-term \nstaff who also produced and screened these films, through vagaries of \npolitical upheaval.&nbsp; To watch these reels is to see an often violently \nchanging ideological landscape against <span class=\"il\">the</span> \ncontinuous effort and precariousness of making films, under such \nconditions. These images travelling now from film to pixels showed us \nrich, surprising and joyful things, begging a broader audience. But it \nwill need both concrete work and special charms to make this move work. \nOur workshop attempted in tactical ways to build <span class=\"il\">the</span> first steps towards this: leaving behind <span class=\"il\">the</span> idea of <span class=\"il\">the</span> <span class=\"il\">archive</span> as a fortress, entering more fertile and open territories. <br />\n<br />It began with a bit of time-travel: Vijay Chavan, a Bombay film \ntechnician still adept at working with 1980's Spirit telecine machines \narrived in Kabul.&nbsp; He repaired <span class=\"il\">the</span> existing \nFDL90&nbsp; telecine machine and editing Steenbeck, and trained four staff \nmembers in using and trouble-shooting them. Shortly afterward a local \ndatabase was set up using an offline instance of Pad.ma. Pad.ma is a \nweb-based video platform, run by a collective including CAMP in Mumbai, \n0x2620 in Berlin and <span class=\"il\">the</span> Alternative Law Forum \nin Bangalore. Unlike YouTube, its focus is on deep annotation and \nmetadata, i.e. both written and automated analysis of video material, \noften footage and not finished films. <span class=\"il\">The</span> software platform is built with <span class=\"il\">the</span>\n idea that digitised film can be indexed and enhanced with rich \nmetadata, including time-coded transcriptions, translations and \nannotations (which can range from historical context, to interviews with\n cast and crew, to critical essays by film scholars). <br />\n<br />To introduce these dimensions into <span class=\"il\">the</span> film database, <span class=\"il\">the</span> digitising of reels was accompanied by a process of talking to people both in Afghan Film and beyond. <span class=\"il\">The</span> 90 or so films digitised during <span class=\"il\">the</span> workshop range from <span class=\"il\">the</span> 1920's to <span class=\"il\">the</span> 1990's, and cut across many genres including newsreel, documentary and fiction features. Several of <span class=\"il\">the</span> current Afghan Films staff have worked here since <span class=\"il\">the</span>\n 1970's and have worked on these films as directors, cameramen or \nactors. Our conversations with them translated into a rich set of \nannotations <span class=\"il\">for</span> <span class=\"il\">the</span> digital film material, and are an inspiration <span class=\"il\">for</span> <span class=\"il\">the</span> piece that follows. <br />\n<br /><span class=\"il\">The</span> workshop ended with an outdoor screening of excerpts from <span class=\"il\">the</span> <span class=\"il\">archive</span> in Shar-e-Nau Park, Kabul.&nbsp; In June, when <span class=\"il\">the</span> growing database makes its public debut both in Kassel and Kabul, much of this material will be seen <span class=\"il\">for</span> <span class=\"il\">the</span> first time in many decades. <span class=\"il\">The</span> voices of communities around <span class=\"il\">the</span> films, and our own voices as artists, filmmakers and enthusiasts, will hopefully provide an accompaniment.\n<div><br /></div>\n<div>[1] from <a href=\"https://pad.ma/texts/padma:10_Theses_on_the_Archive\">10 Theses on the Archive</a>, Pad.ma 2010</div>",
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"title": "Ek Dozen Pani at Sion Koliwada",
"header": "<span style=\"color: orange;\">Saturday, 16th June, 2012</span><br />8,pm. Sion Koliwada <br />",
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"shortname": "AFGHANFILM",
"title": "The World of Afghan Films ",
"header": "<font color=\"orange\">Saturday, 18th August, 2012 </font><br />7:00pm <br />Venue: CAMP<a href=\"http://camputer.org/campstudio.html\"> Rooftop</a><br /><br /><font color=\"orange\">Program:&nbsp; </font><br /><br />1) Introduction to the Afghan Films and Pad.ma workshop in conjunction with documenta13 in Kassel and Kabul. <br /><br />2) Screening: <i>Audiences and Crowds from the Afghan Films Archiv</i>e (a cut from the archive, made and screened in Kabul in April), 23 minutes<br /><br />3) An annotated filmography of Engineer Latif Ahmadi, Afghanistan's most prolific filmmaker in recent times.<br /><br />4) Screening: <i>Khan-e-Tarikh </i>(House of History) 1996. An essay film by Qader Taheri made during the civil war using archival footage from Afghan Films. &nbsp; <br /><br />5) Discussion with Shaina Anand, Faiza Ahmad Khan, Ashok Sukumaran, who were part of the workshop in Kabul, and invited guests. <br />",
"body": "Afghan Films, the national film institute of Afghanistan, opened in 1968. It is responsible for commissioning and producing the vast majority of films made in Afghanistan till today. In March/April 2012, we held a workshop there that engaged with the Afghan Films archive, the peculiar forms of history present in it, and its possible futures. The emphasis was not only on physical preservation of films, but on asking what kinds of memory lives in these images, and in the people working with them for the past few decades.<br /><br />The negatives archive of Afghan Films is intact, protected and preserved by a long-term staff who also produced and screened these films, through the vagaries of political upheaval. The positives archive is less intact, but more accessible. It is marked by gaps, most famously the missing reels burned by the Taliban in the 1990s. Surviving films show the signs of extensive use, the scratches and splices that come from a film print being run through one projector after another, again and again. To watch these reels is to see an often violently changing ideological landscape set against the continuous effort and precariousness of making films under such conditions. But these images traveling now from film to pixels also showed us rich, surprising and joyful things, everyday moments and festivals and feasts, all the forgotten textures of times past and places lost or since remade in some other image. Both of these aspects of the archive suggest its potential, if it is able to reach a broader audience. It will need both concrete work and special charms to bring this promise to fruition. Our workshop attempted to build the first steps: to leave behind the idea of the archive as a fortress, to enter more fertile and open territories.<br /><br />It began with a bit of time-travel: Vijay Chavan, a Bombay film technician adept with older Spirit telecine machines, arrived in Kabul. He repaired the 1980's&nbsp; FDL90 telecine machine and editing Steenbeck owned by Afghan Films, and trained four staff members to use and trouble-shoot them. Shortly afterward, a local offline database was set up using an instance of Pad.ma. Pad.ma is a web-based video platform, run by a group of groups, including CAMP in Mumbai, 0x2620 in Berlin and the Alternative Law Forum in Bangalore. Unlike YouTube, Pad.ma\u00e2\u20ac\u2122s focus is on deep annotation and metadata, i.e. both written and automated analysis of video material, which is often footage rather than finished films. The software platform is built around the idea that digitised film can be indexed and enhanced with rich metadata, including time- coded transcriptions, translations and annotations (which can range from historical context, to interviews with cast and crew, to critical essays by film scholars).<br /><br />To introduce these dimensions into the database built during the workshop, the digitising of reels was accompanied by a process of talking to people who are part of the community around Afghan Films. The 90 or so films and reels digitised so far range from the 1920s to the early 1990s, and cut across many genres, including newsreel, documentary shorts, and fiction features. Several of the current Afghan Films staff have worked there since the 1970s and have been part of these films as directors, cameramen, actors or support staff. Our conversations with them, and with former staff and actors, became a rich set of annotations for the digital film material. <br /><br />The workshop ended with an outdoor screening of excerpts from the archive in Shar-e-Naw Park, Kabul. In June, the online database made its public debut both in Kassel and Kabul, and much of this material wasl seen for the first time in decades. The voices of communities around the films, and our own voices as artists, filmmakers and enthusiasts, will hopefully provide an accompanying score.<br /><br /><font color=\"orange\">Archive Practicum took place at Afghan Films in Kabul between March 23 and April 15, 2012 as collaboration between Afghan Films, Goethe Institut, documenta13, Mariam Ghani and Pad.ma. <br /></font><br />Workshop team: Shaina Anand, Vijay Chavan, Faiza Ahmad Khan, Mariam Ghani and Ashok Sukumaran <br /><br /><br /><br />",
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"shortname": "process_android",
"title": "Processing for Android workshop",
"header": "UPDATE: Unfortunately, Daniel could not make it to India due to travel document issues :(, the workshop is cancelled.<br /><br />Creative Coding for Mobile Devices: Build Sensor-Based Android Apps<br />\nusing Processing<br /><br />Sunday, October 21, 4pm onwards. <br />at <a href=\"http://camputer.org/campstudio.html\">CAMP</a><br />\n<br />\nThis workshop is an introduction to Processing for Android, and<br />\nspecifically the creative potential of the hardware features built<br />\ninto Android devices shipped today, conducted by Daniel Sauter.<br />\n",
"body": "<br />\nWe\u00e2\u20ac\u2122ll create a series of projects using motion and position sensors,<br />\nthe touch screen panel, geolocation and compass, front and back<br />\ncameras, WiFi networking, peer-to-peer networking using Bluetooth and<br />\nWiFi Direct, databases, and 3D scenes on the Android.<br />\n<br />\nThe workshop will utilize Processing 2.0b [1], Android SDK [2], and<br />\nthe Ketai Library for Processing [3]. A basic understanding of<br />\nprogramming and access to an Android device are recommended.<br />\n<br />\nDaniel Sauter is artist, organiser of Mobile Processing Conference in Chicago,<br />\nand the author of <span style=\"font-style: italic;\">Rapid Android Development: Build Rich, Sensor-Based</span><br style=\"font-style: italic;\" /><span style=\"font-style: italic;\">\nApplications with Processing</span> (Pragmatic, 2012).<br /><br />The workshop is free and open to all. <br />Please email sanjay at s(at)pad.ma<br />",
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"header": "<div>DOCUMENTARY/DOCUMENTATION</div>\n<div>NATIONAL SEMINAR</div>\n<div><br /></div>\n<div>Organized by the Department of Film Studies in collaboration with The Media</div>\n<div>Lab, Jadavpur University</div>\n<div><br /></div>\n<div>November 6,7, 2012</div>",
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"schedule": "<div>DAY 1</div>\n<div><br /></div>\n<div>10.30 AM -11.00 AM: Inauguration</div>\n<div><br /></div>\n<div>Welcome Address: Dr. Madhuja Mukherjee, Head, Department of Film Studies</div>\n<div><br /></div>\n<div>Inaugural Address: Prof. Souvik Bhattacharya, Vice Chancellor, Jadavpur</div>\n<div>University</div>\n<div>11.00-11.30 AM: TEA</div>\n<div><br /></div>\n<div>11.30 AM -12.30 PM:</div>\n<div><br /></div>\n<div>Ashish Rajadhyaksha, Centre for the Study of Culture and Society, Bangalore</div>\n<div><br /></div>\n<div>\u00e2\u20ac\u02dcThe Death and Rebirth of Verisimilitude in the Age of the Digital\u00e2\u20ac\u2122</div>\n<div><br /></div>\n<div>Chair: Sanjoy Mukhopadhyay, Dept. of Film Studies, Jadavpur University</div>\n<div><br /></div>\n<div>12.30 PM -1.30 PM:</div>\n<div><br /></div>\n<div>Paromita Vohra, Independent Filmmaker, Mumbai</div>\n<div><br /></div>\n<div>[Untitled]</div>\n<div><br /></div>\n<div>Chair: Manas Ghosh, Dept. of Film Studies, Jadavpur University</div>\n<div><br /></div>\n<div>1.30 PM -2.30 PM: LUNCH</div>\n<div><br /></div>\n<div>2</div>\n<div><br /></div>\n<div>2.30 PM -4.00 PM:</div>\n<div><br /></div>\n<div>Shaina Anand and Ashok Sukumaran, independent art practitioners, CAMP,</div>\n<div>Mumbai</div>\n<div><br /></div>\n<div>[Untitled]</div>\n<div><br /></div>\n<div>Chair: Ravi Vasudevan, Centre for the Study of Developing Societies, Delhi&nbsp;</div>\n<div><br /></div>\n<div>4.00 PM -5.30 PM:</div>\n<div><br /></div>\n<div>Panel Discussion: Documenting the Everyday</div>\n<div><br /></div>\n<div>Speakers:</div>\n<div><br /></div>\n<div>Priyaa Ghosh, Research Scholar, Jawaharlal Nehru University,</div>\n<div>New Delhi</div>\n<div>Shubham Roy Choudhury, Research Scholar, Jadavpur</div>\n<div><br /></div>\n<div>Pallavi Paul, Research Scholar, Jawaharlal Nehru University,</div>\n<div>Delhi</div>\n<div><br /></div>\n<div>University</div>\n<div><br /></div>\n<div>New</div>\n<div><br /></div>\n<div>Chair: Hardikbrata Biswas, School of Women\u00e2\u20ac\u2122s Studies, Jadavpur University</div>\n<div><br /></div>\n<div>5.30 PM -6.00 PM: Coffee</div>\n<div><br /></div>\n<div>6.00 PM onwards: Screening of An Indian Day aka India 67 (S. Sukhdev, 1968)</div>\n<div><br /></div>\n<div>DAY II</div>\n<div><br /></div>\n<div>10.30 AM -11.30 AM:</div>\n<div><br /></div>\n<div>Amlan Dasgupta, Dept. of English, Jadavpur University</div>\n<div><br /></div>\n<div>\u00e2\u20ac\u02dcThe Digital Object of Desire\u00e2\u20ac\u2122</div>\n<div><br /></div>\n<div>Chair: Madhuja Mukherjee, Dept. of Film Studies, Jadavpur University</div>\n<div><br /></div>\n<div>11.30 AM-12.00 Noon: TEA</div>\n<div><br /></div>\n<div>3</div>\n<div><br /></div>\n<div>12.00 Noon- 1 PM:</div>\n<div><br /></div>\n<div>Moinak Biswas, Dept. of Film Studies, Jadavpur University</div>\n<div><br /></div>\n<div>\u00e2\u20ac\u02dcFrom Document to Work: Introduction to a Project\u00e2\u20ac\u2122</div>\n<div><br /></div>\n<div>Chair: Anindya Sengupta, Dept. of Film Studies, Jadavpur University</div>\n<div><br /></div>\n<div>1.00 PM -2.00 PM: LUNCH</div>\n<div>2.30 PM -3.30 PM:</div>\n<div><br /></div>\n<div>Ravi Vasudevan, Centre for the Study of Developing Societies, Delhi&nbsp;</div>\n<div><br /></div>\n<div>\u00e2\u20ac\u02dcFilm as Infrastructure: Information, Communication, and Exhibition Practices</div>\n<div>in Colonial and Early Independent India\u00e2\u20ac\u2122</div>\n<div><br /></div>\n<div>Chair: Ashish Rajadhyaksha, Centre for the Study of Culture and Society,</div>\n<div>Bangalore</div>\n<div><br /></div>\n<div>3.30 PM -5.30 PM:</div>\n<div><br /></div>\n<div>Conversations: Talking Documentaries</div>\n<div><br /></div>\n<div>Speakers:</div>\n<div><br /></div>\n<div>Nilotpal Majumdar, Satyajit Ray Film and Television Institute,</div>\n<div>Kolkata in conversation with Abhiijit Roy, Dept. of Film Studies,</div>\n<div>Jadavpur University</div>\n<div><br /></div>\n<div>Shyamal Karmakar, Satyajit Ray Film and Television Institute,</div>\n<div>Kolkata in conversation with Bikramjit Gupta, Independent</div>\n<div>Filmmaker, Kolkata</div>\n<div><br /></div>\n<div>Q, Independent Filmmaker, Kolkata, in conversation with</div>\n<div>Subhajit Chatterjee, Dept. of Film Studies, Jadavpur University</div>\n<div><br /></div>\n<div>5.30 PM -6.00 PM: Coffee</div>\n<div><br /></div>\n<div>6.00 PM onwards: Screening of Graveyard of Memories (Dir. Ankur Das, 2011)</div>",
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"shortname": "Matrix",
"title": "at the Kochi Muziris Biennale ",
"header": "CAMP presents <br />\n<span style=\"color: orange;\">Destuffing Matrix</span><br />\n2012 <br />\n4 x 3 channel HDV, 8 minutes. <br />\n<br />2nd floor, Pepper House, Fort Kochi <br />\n<span style=\"color: orange;\"><span style=\"color: orange;\">12/12/12 to 13/03/13<br /></span><br style=\"color: white;\" /><span style=\"color: orange;\">Show extended till 17/03/13</span><br /></span>",
"body": "<div>Destuffing Matrix&nbsp;</div>\n<div>\u00e2\u20ac\u00a82012</div>\n<div><br /></div>\n<div>(Its not so much that all that is solid melts into air, but rather that there are boxes within boxes\u00e2\u20ac\u00a6 )</div>\n<div><br /></div>\n<div>Ports and cities have been shy of each other throughout the latter half of the 20th century. Suddenly they make a joint appearance, new container terminal facing the waterfront, sharing their most visible parts. Meanwhile thousands of other pieces of the port - goods, workers, customs seals, excel sheets- are scattered across a \"hinterland\", connected by bridge and wire, and surrounded by fences.</div>\n<div><br /></div>\n<div>What could be an image of this fractured landscape? The closest available rendering is the \"transparent port\" (or Indias first e-port, as the website of Cochin port trust proclaims). A port that, like its physical twin, makes things appear in proper columns, and counts rows of containers stuffed, bills paid, and ships expected or berthing.&nbsp;</div>\n<div>Boxes resist images, but also offer an invitation to the curious. Our work here follows from such a curiosity, claims that images are still possible, and then asks if just rearranging them a certain way could change the tenor of this geography.&nbsp;</div>\n<div><br /></div>\n<div><br /></div>\n<div><br /></div>",
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"title": "at the NGMA/ Skoda Prize exhibition",
"header": "<div style=\"color: orange;\"><i>Two Stages of Invention</i></div>CAMP's exhibition at Experimenter, Kolkata\r\n<div>\r\n<div>is now showing at the</div>\r\n<div>National Gallery of Modern Art Delhi</div></div>\r\n<div>upto March 5, 2013<br style=\"color: orange;\" /><span style=\"color: orange;\">Show Extended till March 23, 2013 </span><br /></div>",
"body": "<div>As part of the Skoda Prize 2012 exhibition.&nbsp;</div>\r\n<div><br /></div>\r\n<div><br /></div>\r\n<div><br /></div>",
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"shortname": "booksharing",
"title": "Hackathon towards an Open Library Index ",
"header": "<div>A few artist's organizations have come together as the Umbrella group to collaborate on spaces and projects. As part of this, we plan to index all the books in our various collections, and enable access to them. We're using <a href=\"http://openlibrary.org\">http://openlibrary.org</a> to enter data about the books and associate them with groups / people that own them.</div>\n<div><br /></div>",
"body": "<div>We're hosting a hackathon at CAMP ( http://camputer.org/directions.html ) on Saturday 9th Feb, 3pm onwards.</div>\n<div><br /></div>\n<div>The broad agenda is to build an open platform for book-sharing in the city.</div>\n<div><br /></div>\n<div>A few artist's organizations have come together as the Umbrella group to collaborate on spaces and projects. As part of this, we plan to index all the books in our various collections, and enable access to them. We're using <a href=\"http://openlibrary.org\">http://openlibrary.org</a> to enter data about the books and associate them with groups / people that own them.</div>\n<div><br /></div>\n<div>The plan is, to start with, build a simple website to find books you're looking for and who to contact to get access to them, using the openlibrary.org API, but is completely open to ideas to facilitate</div>\n<div>sharing of things, both digital and analog.</div>\n<div><br /></div>\n<div>The event also marks solidarity with Aaron Swartz.</div>\n<div><br /></div>\n<div>If this seems interesting, bring your laptop / coding device and come :) - wifi, food etc. shall be provided.</div>\n<div><br /></div>\n<div>Please circulate if you know anyone who maybe interested.</div>",
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"shortname": "oldisc",
"title": "Umbrella Library discussion",
"header": "A discussion on concepts and developments on the online library<br />Sunday March 3, <br />4- 5 pm<br />at <br /><a href=\"http://camputer.org/campstudio.html\">CAMP</a><br />",
"body": "We have postponed our library \"launch\" event to next month. <br />This event is designed to bring in people who will actually work on <br />adding the book lists to the library via openlibrary.org. <br /><br /><br />",
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"shortname": "gulf",
"title": "From Gulf to Gulf to Gulf",
"header": "<br />From Gulf to Gulf to Gulf<br />2009-2013<br />Sharjah Biennial 11 <br />March 13- May 13 2013<br />Film screening every evening 8 30 pm<br />at an open-air cinema on the corner of Bank Street and <span class=\"il\">Corniche</span> Road, Sharjah<br />Run-time 80 mins",
"body": "<font face=\"georgia\">A boat has many powers: to gather a society in its making, to distribute goods, to<br />\n\ncarry people and ideas across places that, it seems to us, are more different than ever<br />\nbefore.<br />\n<br />\nFrom Gulf to Gulf to Gulf is a result of four years of dialogue, friendship and exchange<br />\nbetween CAMP and a group of sailors from Kutch, who come to Sharjah often. Their<br />\n\ntravels and those of co-seafarers from Sindh, Baluchistan and Southern Iran show us a<br />\nworld cut into many pieces, not easily bridged by nostalgics or nationalists. Instead, we<br />\nfollow the physical crossings made by these groups of people who make and sail boats<br />\n\nand who also make videos, sometimes with songs married to them.</font>",
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"title": "Al Jaar Qabla al Daar at Experimenter",
"header": "The second segment of FILAMENT starts tomorrow, Tuesday, July 9, with CAMP's film, Al Jaar Qabla Al Daar (The Neighbour Before the House), 2009-11. <br />\nThe work will be on view until Friday, 12 July with three shows daily at 2pm, 4pm &amp; 6pm. <br />\nEXPERIMENTER <br />\n2/1 Hindusthan Road, Kolkata 700029\n \n",
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"shortname": "JNU part",
"title": "The Part of Yes Part",
"header": "A contribution by CAMP to the day-long symposium <br />\n\"On scale, site and poetics of recent transcultural exhibition<wbr>s\"\n<br />\norganised by Geeta Kapur and the Goethe Insititut, at JNU Delhi <br />\nApril 19, 2013",
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"title": "Festival International de Cinema, Marseille",
"header": "<font color=\"orange\">From Gulf to Gulf to Gulf</font><br />is showing at FID Marseille&nbsp;\n<div>July 2-8, 2013<br />\n<div>Update: is awarded the Jury special mention</div>\n<div>(International competition)</div></div>",
"body": "<p class=\"western\" align=\"LEFT\" style=\"margin-bottom: 0cm;\"><span style=\"font-size: 9pt;\"><font face=\"georgia\">Synopsis:&nbsp;</font></span></p>\n<p class=\"western\" align=\"LEFT\" style=\"margin-bottom: 0cm;\"><font face=\"georgia\"><font style=\"font-size: 9pt;\">A boat has many powers: to gather a society in its making, to distribute goods, to carry people&nbsp;</font><span style=\"font-size: 9pt;\">and ideas across places that, it seems to us, are more different than ever before.</span></font></p>\n<p class=\"western\" align=\"LEFT\" style=\"margin-bottom: 0cm;\"><font face=\"georgia\"><font style=\"font-size: 9pt;\"><i>From Gulf to Gulf to Gulf i</i>s a result of four years of dialogue, friendship and exchange between&nbsp;</font><font style=\"font-size: 9pt;\">CAMP and a group of sailors from the Gulf of&nbsp;</font><span style=\"font-size: 9pt;\">Kutch. Their travels, and those of co-seafarers from Pakistan and Southern Iran, through the&nbsp;</span><span style=\"font-size: 9pt;\">Persian and Aden Gulfs show us a world cut into many pieces, not easily bridged by nostalgics or&nbsp;</span><span style=\"font-size: 9pt;\">nationalists. Instead, we follow the physical crossings made by these groups of people who make&nbsp;</span><span style=\"font-size: 9pt;\">and sail boats. And who also make videos, sometimes with songs married to them.</span></font></p>\n<div>\n<p class=\"western\" align=\"LEFT\" style=\"margin-bottom: 0cm;\"><font face=\"georgia\"><font style=\"font-size: 9pt;\">Original format(s): HDV, SDV, VHS, Cellphone videos (variable)<br /></font><font style=\"font-size: 9pt;\">Screening format: HDV,</font><span style=\"font-size: 9pt;\">&nbsp;16:9<br /></span><span style=\"font-size: 9pt;\">Run time: 81 mins</span></font></p>\n</div>\n<div><font style=\"font-size: 9pt;\" face=\"georgia\"><br /></font></div>\n<br />",
"schedule": "<div><font face=\"arial\" size=\"2\">Camera: Siddik Umar Sanghar, Mrinal Desai, Junas Salemamad Bhagad, Ashok Sukumaran, Shaina</font></div>\n<div><font face=\"arial\" size=\"2\">Anand, Sulaiman Haroon Raja, Jabbar Hassan Chingda, Ismail Haroon Ghandhar, Mohammed</font></div>\n<div><font face=\"arial\" size=\"2\">Rafik, Sulaiman Wahab Sumbhania, Abdul Majid Chauhan, Mehboob Abbas Sanghar,&nbsp;</font></div>\n<div><font face=\"arial\" size=\"2\">Hakimuddin Lilyawala, and the anonymous creators of music videos across many boats and</font></div>\n<div><font face=\"arial\" size=\"2\">many years.&nbsp;</font></div>\n<div><font face=\"arial\" size=\"2\"><br /></font></div>\n<div><font face=\"arial\" size=\"2\">Direction: Shaina Anand,&nbsp;</font><span style=\"font-family: arial; font-size: small;\">Ashok Sukumaran</span></div>\n<div><font face=\"arial\" size=\"2\"><br /></font></div>\n<div><font face=\"arial\" size=\"2\">Editing: Sreya Chatterjee</font></div>\n<div><br /></div>\n<div><br /></div>",
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"shortname": "library",
"title": "Umbrella library",
"header": "is a work-in-progress online library, designed to expand the role of \"lending libraries\"\n<div>towards the future of local distribution of various kinds.&nbsp;</div>\n<div>It begins with a book library project, currently residing at <a href=\"http://tiptiptip.org\">tiptiptip.org</a></div><br />\n<div>Umbrella is a group of non-gallery art spaces and collectives in Mumbai.&nbsp;</div>",
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"shortname": "summer",
"title": "At the Summer Academy",
"header": "<font color=\"#ffffff\">Rough Guide to the Media Arts</font>\n<div>\n<div>Summer Academy, Salzburg</div>\n<div>Class Exhibition</div>\n<div>at Schmeide Hallein</div>\n<div><font color=\"#ffa500\">9th August, 2013</font></div></div>",
"body": "<div>with:</div>\n<div><br /></div>\n<div>\n<div><font color=\"#ffa500\">Ana Vuzdaric</font> writes sf stories, is Croatian, and needs to get a haircut.</div>\n<div><font color=\"#ffa500\">Anna Mikkola</font> is from Helsinki, and currently lives and works in Berlin.</div>\n<div><font color=\"#ffa500\">Dzenan Hadzihasanovic</font> is a painter and performer who lives and works in Sarajevo.</div>\n<div><font color=\"#ffa500\">Gianluigi Scarpa </font>is an artist and writer based in Berlin.</div>\n<div><font color=\"#ffa500\">Lea Kuhl</font> studies art in D\u00c3\u00bcsseldorf.</div>\n<div><font color=\"#ffa500\">Min-hyung Kang</font> is from Seoul, Korea. Currently lives and works in Hanoi,&nbsp;</div>\n<div>Tokyo, and Seoul.</div>\n<div><font color=\"#ffa500\">Mira Turba </font>lives and works in Vienna.</div>\n<div><font color=\"#ffa500\">Ryan Inouye</font> lives and works in New York.</div>\n<div><font color=\"#ffa500\">Samuel Kenswil</font> is a friendly Californian currently studying Fine Arts at&nbsp;</div>\n<div>Goldsmiths in London.</div>\n<div><font color=\"#ffa500\">Sandra Hasen\u00c3\u00b6der</font> studies art in Nuremberg and Vienna.</div>\n<div><br /></div>\n<div>Instructors:</div>\n<div>Shaina Anand</div>\n<div>Ashok Sukumaran</div>\n<div>Assisted by:&nbsp;</div>\n<div>Bernadette Anzengruber</div></div>",
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"shortname": "ektachrome",
"title": "EKS VOTO",
"header": "<font color=\"#ffffff\">A Tama for Ektachrome</font>\n<div>with LabA</div>\n<div>on the island of Tinos</div>\n<div>Greece</div>\n<div><font color=\"#ffa500\">11-08-2013 to 21-08-2013</font></div>\n<div><br /></div>\n<div>A funeral for Ektachromes colour reversal film in the form of a gathering of kindred souls, with lots of filming, and processing.&nbsp;</div>",
"body": "Bye Bye Ektachrome. Zindabad film.&nbsp;\n<div>Thank you LabA, Athens.&nbsp;</div>",
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"shortname": "FDzone1",
"title": "CAMP at FD Zone",
"header": "<font color=\"#ffffff\">Two films by CAMP</font>\n<div><font color=\"#0000ff\"><br /></font></div>\n<div><font color=\"#ffa500\">CCTV Social</font></div>\n<div><font color=\"#ffa500\">The Neighbour before the House</font></div>\n<div>at&nbsp;</div>\n<div>RR Theatre&nbsp;</div>\n<div>10th Floor</div>\n<div>Films Division</div>\n<div>Pedder Road, Mumbai</div>\n<div><font color=\"#ffa500\">Saturday, 31st August, 2013</font></div>\n<div>4:00 pm</div>",
"body": "<div style=\"color: rgb(34, 34, 34); background-color: rgb(255, 255, 255);\">\n<div style=\"margin-bottom: 0.0001pt;\"><font face=\"georgia\"><span style=\"line-height: 18.18181800842285px;\"><b>Two works by CAMP</b>:</span><span style=\"line-height: 18.18181800842285px;\"><b><br />CCTV Social</b>&nbsp;<br /></span></font></div>\n<div style=\"margin-bottom: 0.0001pt;\"><font face=\"georgia\"><span style=\"line-height: 18.18181800842285px;\">2008&nbsp;</span>/<span style=\"line-height: 18.18181800842285px;\">28 minutes<br /></span></font></div>\n<div style=\"margin-bottom: 0.0001pt;\"><font face=\"georgia\"><span style=\"line-height: 18.18181800842285px;\"><a rel=\"nofollow\" href=\"http://www.camputer.org/event.php?id=24\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">http://www.camputer.org/event.<wbr>php?id=24</a><br /><br /><b>AL Jaar Qabla Al Daar</b>&nbsp;(The Neighbour before the House)&nbsp;</span><span style=\"line-height: 18.18181800842285px;\"><br />2009-2011/&nbsp;</span><span style=\"line-height: 18.18181800842285px;\">60 minutes</span><br /></font></div>\n<div style=\"margin-bottom: 0.0001pt;\"></div>\n<div style=\"margin-bottom: 0.0001pt;\"><font face=\"georgia\"><a rel=\"nofollow\" href=\"http://www.camputer.org/event.php?id=98\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">http://www.camputer.org/event.<wbr>php?id=98</a>&nbsp;<b><br /></b></font></div>\n<div style=\"margin-bottom: 0.0001pt;\"><b><font face=\"georgia\">&nbsp;</font></b></div></div>\n<div style=\"color: rgb(34, 34, 34); background-color: rgb(255, 255, 255); margin-bottom: 0.0001pt;\"><b><font face=\"georgia\">CCTV Social</font></b></div>\n<div style=\"color: rgb(34, 34, 34); background-color: rgb(255, 255, 255); margin-bottom: 0.0001pt;\"><font face=\"georgia\">In March 2008 Shaina Anand collaborated with Manchester Metropolitan University and Arndale Shopping Centre to open working CCTV environments to a general audience. People normally 'enclosed' by these networks came into the black box of the control rooms to view, observe and debate this condition, endemic in the UK, where there is one camera for every 6 people.&nbsp;&nbsp;</font></div>\n<div style=\"color: rgb(34, 34, 34); background-color: rgb(255, 255, 255); margin-bottom: 0.0001pt;\"><font face=\"georgia\">Manchester's Open Street Surveillance, with its Pan-Tilt-Zoom cameras and systems wired into the surrounding architecture over a decade ago were subject to demonstrations, scrutiny and inquiry by 36 participants. These hour-long sessions became somewhat like a diagnostic clinic, where symptoms, anxieties and inoculations about 'public health' under surveillance were meditated upon. The therapy sessions seemed to work both ways, for the participants as well as the security officers. The film is a documentation of some moments, from these several hours of curious encounters.&nbsp;<br /><br /></font></div>\n<div style=\"color: rgb(34, 34, 34); background-color: rgb(255, 255, 255); margin-bottom: 0.0001pt;\"><font face=\"georgia\"><i>CCTV Social&nbsp;</i>has been exhibited at Cornerhouse Manchester, Nottingham Contemporary, Henie Onstad Kunstsenter Oslo and Space Hamilton Seoul. It will be part of a CAMP exhibition at the Museum of Contemporary Art Tokyo in Ocobter 2013.&nbsp;<br /></font></div>\n<div style=\"color: rgb(34, 34, 34); background-color: rgb(255, 255, 255); margin-bottom: 0.0001pt;\"><font face=\"georgia\"><br /></font></div>\n<div style=\"color: rgb(34, 34, 34); background-color: rgb(255, 255, 255); margin-bottom: 0.0001pt;\"><font face=\"georgia\"><b>The Neighbour Before The House (Al Jaar Qabla Al Daar)</b>&nbsp;<br />The material for this film was generated by eight Palestinian families living in various parts of Jerusalem/Al Quds, a place where the usual sense of \u00e2\u20ac\u0153neighbourhood\u00e2\u20ac\u009d is broken by occupation and conflict. It was filmed over a month in September October 2009, with a PTZ (pan-tilt-zoom) CCTV camera that the residents installed on their own homes (or in the case of evicted families, on nearby houses), a \"tripod made of stones\".&nbsp; The&nbsp;commentary you can hear is of people speaking over the video live, as they watch and move the camera from inside their homes. Sometimes the voice looks for an image, at other times image provokes voices, or they separate into distant landscapes and innermost thoughts. The footage was edited into this film in 2011.</font></div>\n<div style=\"color: rgb(34, 34, 34); background-color: rgb(255, 255, 255); margin-bottom: 0.0001pt;\"><font face=\"georgia\">&nbsp;<i><br /></i><i>The Neighbour Before the House&nbsp;</i>has been screened at the Al Mamal Foundation Jerusalem, International Academy of Art&nbsp; Ramallah, Nova Cinema Trondheim, New Museum New York, Yerba Buena Center for Art San Francisco, Volte Gallery Mumbai, Experimenter Gallery Kolkata, and the Biennials of Sharjah and Liverpool.</font></div>\n<div style=\"color: rgb(34, 34, 34); font-family: garamond, 'new york', times, serif; background-color: rgb(255, 255, 255); margin-bottom: 0.0001pt;\"><br /></div>\n<div><span style=\"font-size: 12pt;\"><br /></span></div>",
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"title": "Closely Guarded Phonecalls",
"header": "<div>Hum Logos (45 mins)&nbsp;<br /><br />at <br />FD ZONE <br /></div>\r\n<div>RR Theatre&nbsp;</div>\r\n<div>10th Floor</div>\r\n<div>Films Division</div>\r\n<div>Pedder Road, Mumbai</div>\r\n<div><font color=\"#ffa500\">Saturday, 7th September, 2013</font></div>\r\n<div>4:00 pm<br /></div>",
"body": "<font face=\"arial\">Curators note:<br />\r\n</font>\r\n<p><font face=\"arial, helvetica, sans-serif\">This week's program \r\ncontinues from last week's \u00e2\u20ac\u02dcOf watching and Being Watched\u00e2\u20ac\u2122.&nbsp; Network \r\ntechnologies like cellphones for example, offer a sense of equity and \r\nprivacy internally but at the same time offer unparalleled opportunity \r\nof surveillance. Governments can and do \"wiretap\" whom they wish, when \r\nthey wish, protected by barriers of secrecy.&nbsp;Sometimes, things leak. We \r\nare facing many questions, as increasingly such intrusions are being \r\nlegislated. Where are the new ethical lines drawn?&nbsp; How aware are we \r\nthat we are being listened to?</font></p>\r\n\r\n<div>\r\n<div>\r\n<div class=\"im\">\r\n\r\n\r\n\r\n<p><font face=\"arial, helvetica, sans-serif\">See for example:</font></p>\r\n<p><span><font face=\"arial, helvetica, sans-serif\"><a href=\"http://indiatoday.intoday.in/story/the-secret-world-of-phone-tapping/1/122693.html\" target=\"_blank\">http://indiatoday.intoday.in/<wbr>story/the-secret-world-of-<wbr>phone-tapping/1/122693.html</a><br /></font></span><a href=\"https://pad.ma/project==Radia_Tapes\" target=\"_blank\" style=\"font-family: arial, helvetica, sans-serif;\">https://pad.ma/project==Radia_<wbr>Tapes</a></p>\r\n</div></div>\r\n<p><font face=\"arial, helvetica, sans-serif\">Screenings:</font></p>\r\n<div>\r\n\r\n<p><font face=\"arial, helvetica, sans-serif\"><i>CBI</i> /19 min / 1973 / Films Division</font></p>\r\n<div class=\"im\">\r\n<p><font face=\"arial, helvetica, sans-serif\">The Central Bureau of \r\nInvestigation traces its origins to the Special Police Establishment \r\n(SPE)&nbsp; established in 1941. The functions of the SPE were to investigate\r\n bribery and corruption in transactions with the War and Supply \r\nDepartment of India, set up during World War II.&nbsp; Its motto is \r\n\"Industry, Impartiality, Integrity\". Its mission is 'To uphold the \r\nConstitution of India and law of the land through in-depth investigation\r\n and successful prosecution of offences; to provide leadership and \r\ndirection to police forces and to act as the nodal agency for enhancing \r\ninter-state and international cooperation in law enforcement '. The 19 \r\nmin. film gives an insight to its functioning and encourages citizens to\r\n help CBI by reporting any wrong doing.</font></p>\r\n\r\n</div></div></div>\r\n<div class=\"im\">\r\n<div>\r\n<p><font face=\"arial, helvetica, sans-serif\"><i><br /></i></font></p>\r\n<p><font face=\"arial, helvetica, sans-serif\"><i>Act II: Hum Logos</i> / 45 mins / 2012 / CAMP</font></p>\r\n</div></div>\r\n<p><font face=\"arial, helvetica, sans-serif\"><i>Hum Logos</i>\r\n is a film based on the Radia Tap(e)s. These recordings have been described \r\nas essential listening for anyone wanting to be a journalist in India.&nbsp; \r\nDebates around the tapes and their authenticity have often asked whether\r\n they were edited or not, whether they were \"spliced\" or \"fake\". This \r\nwork asks instead, what further editing or rearrangement&nbsp;might do. What could we hear, in another composition.&nbsp;We are led to a different \r\nkind of experience from on the one hand, voyeuristic bytes replayed \r\nendlessly on TV and on the other the \"data\" that has thus far become \r\navailable publicly. In the film, a&nbsp;<span style=\"text-align:justify\">broad \r\nspectrum of rhetorical devices: lies, cries, memes, schemes, pen drives,\r\n bad networks and family feuds, can be heard pulsing through the nervous\r\n system of Indian democracy.</span></font></p>\r\n<p><font face=\"arial, helvetica, sans-serif\">See also:<br /><a href=\"http://camputer.org/event.php?id=158\" target=\"_blank\">http://camputer.org/event.php?<wbr>id=158</a></font></p>\r\n<p><font face=\"arial, helvetica, sans-serif\"><i>Hum Logos </i>has been \r\nexhibited at the New Museum New York, the Gwangju Biennale (with Korean \r\ntranslation) and the National Gallery of Modern Art (NGMA) Delhi, among \r\nother screenings. <br /></font></p>\r\n<p><font face=\"arial, helvetica, sans-serif\"><br /></font></p>\r\n<p><font face=\"arial, helvetica, sans-serif\"><br /></font></p>",
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"title": "The Country of the Blind, and Other Stories",
"header": "at the <br />Sunday Painter, <br />Pekham, London <br /><font color=\"orange\">September 19-22, 2013 </font><br /><br />as part of <br /><font color=\"orange\">Pekham Artists Moving Image</font><br />",
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"title": "BFI London Film Festival",
"header": "<font color=\"#ffa500\" face=\"georgia\">From Gulf to Gulf to Gulf&nbsp;</font>\n<div><font face=\"georgia\">83\"</font></div>\n<div><font face=\"georgia\"><br /></font></div>\n<div><font face=\"georgia\">at&nbsp;</font></div>\n<div><font face=\"georgia\">BFI London Film Festival<br />(moved to NFT 1)<br /></font></div>\n<div><font face=\"georgia\">South Bank, London&nbsp;</font></div>\n<div><font face=\"georgia\">13th October, 2013&nbsp;</font></div>\n<div><font face=\"georgia\">6:30 pm&nbsp;</font></div>",
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"title": "Museum of Contemporary Art, Tokyo",
"header": "<font color=\"orange\">CCTV Social and Capital Circus</font><br />at<br />Bunny Smash <br />design to change the world<br /><br />Museum of Contemporary Art, Tokyo<br /><font color=\"orange\">October 3, 2013 to January 19, 2014</font><br />",
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"title": "Camp at Chemould Prescott Road",
"header": "The Radia Tap(e)s<br /><br /><font color=\"orange\">Act I: <i>Swearing-in Whispers</i></font><br />Screenplay 95 pages and IVR<br /><font color=\"orange\"><br />Act II: <i>Hum Logos</i></font><br />text and phone audio, 45 mins<br /><br />at<br />Citizen-Artist: Forms of Address<br />Curated by Geeta Kapur<br />Chemould Prescott Road<br />Queens Mansion<br />Fort, Mumbai<font color=\"orange\"><br /></font><font color=\"green\"><font color=\"orange\">14-10-2013 to 14-11-2013</font></font><br />",
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"header": "<font color=\"orange\">From Gulf to Gulf to Gulf </font><br />83\"<br /><br />at <br />Underdox: document and experiment<br />Werkstattkino, Munich<br /><font color=\"orange\">20:30, 16th October, 2013</font><br />",
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"title": "At the Radical Media forum, Goldsmiths London",
"header": "Two works by CAMP<br /><i>On Broken Networks and Neighbourhoods</i><br /><br /><font color=\"orange\">October 18, 2013, RHB 137a, 6pm onwards<br /><br /></font><a href=\"http://camputer.org/event.php?id=98\">Al Jaar Qabla Al Daar </a><br />(The Neighbour Before the House) <br />60 mins. <br /><br /><a href=\"http://camputer.org/event.php?id=158\">Act II: Hum Logos</a><br />45 mins.<br />",
"body": "Followed by a discussion with Shaina Anand<br /><br />Organised by and with thanks to Mihaela Brebenel. <br />The Radical Media forum is a student-led initiative, supported by the Media and Communication Department ,<br />and the Graduate School. <br /><br /><br />",
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"title": "7th Athens Avant-Garde Film Festival",
"header": "<font color=\"orange\">From Gulf to Gulf to Gulf </font><br />83 mins <br /><br />At Athens Avant-Garde Film Festival<br />Greek Film Archive Screening Room B<br /><font color=\"orange\">20:30 pm, 22nd October, 2013 </font><br />",
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"header": "<font color=\"orange\">From Gulf to Gulf to Gulf</font><br />at Doc Lisboa<br /><font color=\"orange\">28th and 31st October 2013</font><br /><br />\n<div><font color=\"orange\">30th October </font>Political Cinema Panel&nbsp;</div>\n<div><font color=\"orange\">1st November</font>&nbsp; International Debate Passages</div><br />",
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"shortname": "viennale",
"title": "Viennale Vienna International Film Festival ",
"header": "<font color=\"orange\">From Gulf to Gulf to Gulf</font><br />at Viennale<br />\n<div><font color=\"orange\">2nd and 5th November, 2013</font><br /></div>",
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"header": "<font color=\"orange\">Double Bill: Two films by CAMP </font><br />\n<div><br /></div>\n<div>From Gulf to Gulf to Gulf (83 mins)&nbsp;</div>\n<div>and&nbsp;</div>\n<div>The Neighbour Before the House (60 mins)</div>\n<div><br />at the Cork Film Festival&nbsp;</div>\n<div><font color=\"orange\">November 12, 2013&nbsp;</font></div>\n<div>Curated by Vassily Bourikas <br /></div>",
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"shortname": "cinemaproject",
"title": "We Begin by Measuring Distance",
"header": "<font color=\"orange\">Works in Palestine by Basma Al Sharif and CAMP</font><br />at Cinema Project, Portland<br /><font color=\"orange\">November 8th, 2013</font><br />Al Jaar Qabla Al Daar (The Neighbour before the House)<br />60 mins<br />",
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"shortname": "pleasure",
"title": "Pleasure: A Block Study",
"header": "<p class=\"MsoNormal\"><font size=\"2\">A book by CAMP<br /><br /></font></p>\r\n<p class=\"MsoNormal\"><font size=\"2\"><font color=\"orange\">6.30pm Wednesday 6 November, 2<font size=\"2\">013</font></font></font></p>\r\n<p class=\"MsoNormal\"><font size=\"2\">Serpentine Galler<font size=\"2\">y, London</font> </font></p>",
"body": "<font size=\"2\"><br /></font>\r\n<p class=\"MsoNormal\"><font size=\"2\">CAMP present\r\n<i>Pleasure: A Block Study</i>, a publication that comes out of their \r\nmulti-year residency with the Edgware Road Project. Produced entirely \r\nonline, via the print tool and website\r\n<span style=\"\"><a href=\"http://edgwareroad.org\" target=\"_blank\">edgwareroad.org</a></span>, this volume was initiated by the\r\n artists, focussing on a very small piece of the city: a few buildings \r\non the Edgware Road in London. <br /></font></p>\r\n<p class=\"MsoNormal\"><font size=\"2\">The publication explores a history of 'public pleasures' that arose in the Edgware Road neighbourhood, starting from the 19<sup>th</sup>\r\n Century to the present, documenting social shifts on the street\r\n and the surrounding areas.&nbsp; Arab, Iranian, Irish, Kurdish and other \r\nbusinesses and groups produced a particular history of film, video, \r\nmusic and street life that often clashed with existing legal and \r\nproprietary structures. A tumultuous few decades of these\r\n struggles form the heart of this book, offering on the one hand, images\r\n and narratives of a pleasure filled Dionysian street-life, and on the \r\nother tales of bureaucratic containment that limit and regulate various \r\nemergences of public life. <br /></font></p>\r\n<p class=\"MsoNormal\"><br /><span style=\"font-size:14.0pt\"></span></p>\r\n<p class=\"MsoNormal\"><span style=\"font-size:14.0pt\"><br /></span></p>",
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"title": "Artists in the Archives",
"header": "Seminar<br />at LUX, Shacklewell Studios, London<br /><font color=\"orange\">17th October, 3pm</font><br />",
"body": "<span style=\"display:block;margin-left:7em;padding:3px 0px;white-space:pre-wrap\">This seminar for artists and curators looking at the implications of\nartists\u00e2\u20ac\u2122 film and video in the Archive. We will explore the various\nhistorical contexts, conceptual concerns and practical issues facing\nmoving image artists working with archives both in terms of the care\nand preservation of their work, and accessing archives for research.\nThe workshop will be chaired by <span class=\"il\">LUX</span> Director, Benjamin Cook with the\nfollowing guest speakers:\n\nAndrew Lampert, Head of Collections, Anthology Film Archives, New York\nWilliam Fowler, Curator of Artists\u00e2\u20ac\u2122 Moving image at the BFI National\nArchive, London and Shaina Anand, co-initiator of CAMP and http://Pad.ma</span>",
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"title": "Migrating Forms",
"header": "From Gulf to Gulf to Gulf<br />at <br />Migrating Forms <br />Brooklyn Academy of Music<br /><font color=\"orange\">December 12, 7pm. </font><br />BAM Rose Cinemas<br /><br />",
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"title": "A season of long films",
"header": "<a href=\"https://pad.ma\">Pad.ma</a> invites you to<br />Rivers without Banks <br />at <a href=\"/campstudio.html\">CAMP</a><br /><font color=\"orange\"><br />27th December, 2013 through 27th January, 2014</font><br /><br />Before the start of a new year; and among big and small resolutions for the future we chose to ask ourselves what is free cinema today, what is its political and perceptual economy, and what could we summon of its powers, before embarking on new journeys of making and thinking.&nbsp; <br /><br />Rivers without Banks is a screening program of films whose durations extend beyond conventional length. But importantly, this is not a collection put together quantitatively, even as we may argue that the epic scales present in the chosen films carry the weight of histories, and put together chronologically show us a century where individual everyday lives face the annals of terrible power; where the human condition battles with nature and technology, with love and loss, with good and evil.<br />",
"body": "We chose these films for their primacy, their resilience and their beauty. For the formal expansion of the cinematic into something immersive and extreme. Our agenda is also a selfish one. These are films that we want to see, and as Bombay enjoys cool winter nights, the open-air cinema on CAMP's roof invites us to view together films that don't seem to be well suited for solo sittings, confined in a room, glued to a chair, or worse, a computer screen.<br />&nbsp;<br />If you come, we will keep you hydrated and fed. Please bring cushions and blankets if you like. Do RSVP so we can plan our resources. At the end of each 'mini-series' is a day for discussion. This an important day, since discussions after each film are not possible. Some of the films finish after the last of the public transport stops, please keep this in mind. You are of course&nbsp; welcome to be at CAMP till morning. Please note times for each film, some start earlier than others.<br /><br />Directions:<a href=\"null\"> </a><a href=\"http://camputer.org/campstudio.html\">http://camputer.org/campstudio.html</a><br />RSVP: info(at)camputer.org <br /><br />\n\n<iframe src=\"https://pad.ma/DMG/player/00:00:00#embed?showAnnotations=true&amp;showLayers=[&quot;descriptions&quot;]&amp;timeline=&quot;slitscan&quot;&amp;showTimeline=true&amp;matchRatio=true\" allowfullscreen=\"\" frameborder=\"0\" height=\"670\" width=\"640\"></iframe>\n<br />\n\n<br /><strong>Weekend 1</strong><br /><br />Fri Dec 27 6 pm - <i><span>Kagadanan sa Banwaan ning mga Engkanto</span></i> <br />Death in the Land of Encantos (Lav Diaz, 2007, 9:04)<br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 3:30 am<br /><br />Sat Dec 28 3:30 pm - <i>Tie Xi Qu</i>: West of the Tracks (Wang Bing, 2003, 9:17)<br />&nbsp;&nbsp;&nbsp; begins at 4:00 pm and ends at 2:00 am<br /><br />Sun Dec 29 6 pm - Satantango (Bela Tarr, 1994, 7:01)<br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 1:30 am<br /><br />Mon Dec 30 6:00 pm - Discussion <br /><br /><strong>Weekend 2</strong><br /><br />Fri Jan 03 6 pm - Star Spangled to Death (Ken Jacobs, 2004, 6:42)<br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 11:30 pm<br /><br />Sat Jan 04 6 pm - The Journey (Peter Watkins, 1987, 14:30)<br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 2:00 am<br /><br />Sun Jan 05 6 pm - The Journey (continued) <br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 1:30 am<br /><br /><br /><strong>Weekend 3 </strong>(after a week's break)<br /><br />Sat Jan 18 6 pm - Out 1: noli me tangere (Jacques Rivette/Suzanne Schiffman, 1971, 12:18) <br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 1:00 am<br /><br />Sun Jan 19 6 pm - Out 1: noli me tangere (continued) <br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 0:30 am<br /><br />Mon Jan 20 6:00 pm - Discussion<br /><br /><br /><strong>Weekend 4</strong><br /><br />Fri Jan 24 6 pm - <i><span>La hora de los hornos<br /></span></i>The Hour of the Furnaces (Octavio Getino/Fernando E. Solanas, 1968, 3:50)<br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 10:30 pm<br /><br />Sat Jan 25 6 pm - Shoah (Claude Lanzmann, 1985, 9:02)<br />&nbsp;&nbsp;&nbsp; begins at 6:30 pm and ends at 3:30 am<br /><br />Sun Jan 26 3:30 pm - <i>Ningen no joken<br /></i>The Human Condition (Masaki Kobayashi, 1959-1961, 9:35)<br />&nbsp;&nbsp;&nbsp; begins at 4:00 pm and ends at 2:00 am<br /><br />Mon Jan 27 5:00 pm - Discussion followed by a Bonus Screening! <br />&nbsp;&nbsp;&nbsp;&nbsp; 7:00 pm&nbsp; Histoire(s) du Cinema (Jean-Luc Godard, 1988-1998, 4:24)<br /><br /><br />",
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"title": "at FTII, Pune ",
"header": "<i>From Gulf to Gulf to Gulf </i><br />at <br />Film and Television Institute of India, Pune<br />at CRT<br />December 8th, 2013 at 9:00 pm<br />in the presence of the filmmakers and editor Sreya Chatterjee <br />",
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"shortname": "unsense",
"title": "Distributing the Unsensable (in experiments with images)",
"header": "<font color=\"orange\">by CAMP </font><br />at <br /><strong>The Many Lives of Indian Cinema: 1913-2013 and beyond<br />\nDisciplines, Histories, Technologies, Futures</strong><br /><font color=\"orange\">January 9th, 2014</font><br />at Sarai-CSDS, New Delhi. <br /><br />With Screenings of <br /><font color=\"orange\"><i>From Gulf to Gulf to Gulf</i></font><br />9th and 11th January 7:00 pm <br />",
"body": "<br />We\n are surrounded by landscapes that we cannot directly sense: Coal \nreserves, electrical grids, climate, financial systems, art markets. The\n chains linking these to individual perception or sense organs are long \nand twisted. We can think of images as attempts to short-circuit this \nsituation. Images light up every available surface, fighting an \nindirect, metaphorical battle against the disappearance of actual sites \nof financialisation, valorisation, urbanisation, network \nintensification, and so on. These images rearrange what can be seen, \nfelt or alluded to, and thus in the language of&nbsp;Jacques Ranci\u00c3\u00a8re, \nproduce an overlap between aesthetics and politics. <br /><br />\n<p style=\"font-family:arial,sans-serif;font-size:12.800000190734863px\">In this talk we develop another side of this overlap, which motivates our own recent work, and is about the non-<span class=\"il\">sensable</span> aspects of images, or certain aspects of aesthetic&nbsp;<i>process.</i>&nbsp;That\n is, things that are not perceptible yet, but there is an \nexperimentation that may burst into perceptibility or form at any time. \nThis means the procedures, backends, tweaking of technological or \norganisational contexts, and other ways in which moving images are \nprepared for, thought of, and then made, cast or thrown. Starting with \nseven different clips of near-darkness in the online video archive \nPad.ma, we describe the (also accidental, tentative) entry of cameras \nand intentions into different kinds of spaces, or worlds. The&nbsp;<i>way</i>&nbsp;or\n manner of entering, in relation to and transforming what is already \nthere, is the key shift or interruption here. We give examples of our \nactivities \"behind the image\" and anticipation of it, that try to catch \nin the plane and rhythm of image-making processes, some of what has \nreceded from the immediate senses.&nbsp;&nbsp;</p>\n<p style=\"font-family:arial,sans-serif;font-size:12.800000190734863px\"><br /></p>",
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"shortname": "bordercultures",
"title": "Art Gallery Windsor ",
"header": "<font color=\"orange\">The Boat-Modes</font><br />in <br />Border Cultures: Part Two (work, labour) <br />Art Gallery Windsor<br /><font color=\"orange\">January 25 - April 13, 2014</font><br />",
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"title": "Dhaka Art Summit",
"header": "<font color=\"orange\">From Gulf to Gulf to Gulf </font><br />at<br />Dhaka Art Summit<br />Bangladesh Shilpakala Academy<br />Experimental Film Programme<br />8th and 9th February 2014<br />",
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"shortname": "cinemathon2014",
"title": "Cinemathon 2014",
"header": "<div><font color=\"orange\">15th and 16th February 2014</font>&nbsp;</div>\n<div>5pm onwards (till midnight and beyond)</div>\n<div>at CAMP Rooftop studio&nbsp;</div>",
"body": "<div style=\"color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px\">Cinemathon<br /><br />\n5th and 16th February 2014<br />\n5pm onwards<br /><br />\n</div>\n<div style=\"color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 13px\">Indiancine.ma -&nbsp;<a href=\"https://indiancine.ma/\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">https://indiancine.ma</a>&nbsp;- in collaboration with the Centre for Internet and Society Bangalore, is organizing a 2-day \"cinemathon\" on February 15th and 16th, 2014 in Mumbai. It is an opportunity for cinema lovers to take part in the largest open digital archive project on Indian cinema.<br />\nIndiancine.ma was launched a year ago to coincide with the 100 years of Indian cinema. It is a resource intended to not only recollect the heritage of Indian film, but also to reaffirm the promise of cinema as an art form as it enters its second century.<br /><br />\n\n<a href=\"https://indiancine.ma/\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">https://indiancine.ma</a>&nbsp;seeks to provide an encyclopedic resource for film scholars and theorists, and serve as an in-depth platform for film students and enthusiasts.&nbsp;<a href=\"https://indiancine.ma/\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">https://indiancine.ma</a>&nbsp;already indexes and makes searchable metadata for 36,384 Indian films. This metadata has been compiled, initially, from Ashish Rajadhyaksha's and Paul Willemen's \"Encyclopedia of Indian Cinema\", and enhanced and made up-to-date with other available sources. As per Indian copyright law, films released more than 60 years ago fall into the public domain, and we have been working hard to source pre-1954 movies, archive them responsibly, and make them available for free.<br />\nEminent film scholars like Ashish Rajadhyaksha, Moinak Biswas, SV Srinivas and others are already working within the archive, enriching it with stills, booklets and posters, academic texts and time-based scene analysis, a unique feature of the platform. But the body of Indian cinema is vast, and the broader goal of collecting data about every Indian film ever made, and keeping this information open to the public, is going to need the help all of you film enthusiasts, cinephiles and scholars in your own right.<br /><br />\nThis 2-day event as an invitation to anyone who is interested in Indian cinema, to explore and learn how to make full use of the resources available on this online platform, as well as entice some of you to contribute your knowledge about Indian cinema back into this public forum. These evenings will familiarise you with the tools and interface, and we can then begin doing some exploratory work together. On the first day, Pune-based film scholar Gayatri Chatterjee will whet our appetites with a scene-wise analysis of PC Barua's 1935&nbsp;<i>Devdas</i>. <br />\nOverall we plan to keep things fairly unstructured, but whether you're a filmmaker, film student, theorist, computer programmer or film enthusiast there will be something for you. If you have a laptop, please bring it. There will be free wifi and food and drinks. The event will be partially outdoors on a terrace so keep yourselves warm. <br />\nWe plan to meet around 5pm on the 15th and 16th, and go on until however long people want to hang out / continue working and exploring. <br /><br />\nCAMP Rooftop studio <br />\nDirections: <br />\n<a href=\"http://camputer.org/campstudio.html\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">http://camputer.org/<wbr>campstudio.html</a><br />\n<a href=\"http://camputer.org/directions.html\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">http://camputer.org/<wbr>directions.html</a><br />\n</div>",
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"title": "at Clark House, Bombay",
"header": "The Annotated 'Gujarat and the Sea' Exhibition (2011)<br />and <br />Descendant (2014)<br />in<font color=\"orange\"><br />And I laid traps for the troubadours who get killed before the reached Bombay<br /></font>at Clark House, Bombay<br /><font color=\"orange\">February 7 to &nbsp;May 30, 2014</font><br />",
"body": "<p align=\"LEFT\" style=\"font-family: arial, sans-serif; font-size: 13px; margin-bottom: 0in; line-height: 0.17in;\">Curated by Emilie Villez, Zasha Colah &amp; Sumesh Sharma</p>\n<br />\n\n\n<p align=\"LEFT\" style=\"font-family: arial, sans-serif; font-size: 13px; margin-bottom: 0in; line-height: 0.17in;\">An exhibition made of photos of another exhibition, titled Gujarat and the Sea<br />Which was itself made of prints of scans of maps, documents and photos.</p>\n\n<p align=\"LEFT\" style=\"font-family: arial, sans-serif; font-size: 13px; margin-bottom: 0in; line-height: 0.17in;\">and&nbsp;</p>\n<p align=\"LEFT\" style=\"font-family: arial, sans-serif; font-size: 13px; margin-bottom: 0in; line-height: 0.17in;\">a work that draws from 8mm home movies of the Clark House family, in the sequence below:\n</p>\n<p align=\"LEFT\" style=\"font-family: arial, sans-serif; font-size: 13px; margin-bottom: 0in; line-height: 0.17in;\"><img src=\"http://camputer.org/images/timeweb.jpg\" width=\"350\" /></p>\n<p align=\"LEFT\" style=\"font-family: arial, sans-serif; font-size: 13px; margin-bottom: 0in; line-height: 0.17in;\"><br />\nWith special thanks to Aruna Sharma, who was the main reason<br />\nfor her husband, late Chaturbhuj Sharma's filming hobby. <br />\n\n</p>",
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"title": "FICUNAM Mexico",
"header": "From Gulf to Gulf to Gulf<br />Feb 28th to March 6th 2014 <br />at FICUNAM, Mexico<br />",
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"shortname": "tiptiptip",
"title": "Can Art Books Library?",
"header": "<a href=\"http://tiptiptip.org\">tiptiptip.org</a>\n\n<div><font color=\"orange\">A discussion and informal launch</font> <br />at <a href=\"http://camputer.org/directions.html\">CAMP Roof</a>, 7:30 pm</div>",
"body": "In response to specific potentials of listing and opening up collections in the city, a group of us have worked on an online library platform for books, catalogs and other informal print material.&nbsp;It is currently <a href=\"http://tiptiptip.org\">seeded</a> with 400-odd books from CAMP.&nbsp;\n<div><br /></div>\n<div>We invite you all to an event launching the project, and welcoming other libraries that plan to join, Sunday evening starting at 7:30pm.&nbsp;</div>\n<div><br /></div>\n<div>A discussion titled \"What Art Theory is in Books, and What is a Book in Art Theory?\" including</div>\n<div>Himanshu S, Siddhartha Lokanandi, Gitanjali Dang, Ashok Sukumaran and others will happen from 8pm till about 10pm.&nbsp;</div>\n<div><br /></div>\n<div><br /></div>\n",
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"title": "March Meeting 2014",
"header": "Panel on Sustained Engagements:<br /><font color=\"orange\">A Letter to the Sharjah Art Foundation in Grey, White and Black. </font><br />13th March 2014, 10:00 am<br />SAF Art Spaces, Sharjah<br /><br />Collective Research Session: screening and discussion<br /><font color=\"orange\">From Gulf to Gulf to Gulf </font><br />14th March 2014, 20:00<br />Mirage City Cinema, Sharjah <br />",
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"shortname": "2pleasure",
"title": "Pleasure: A Block Study",
"header": "<font color=\"orange\">Book Launch</font><br />20th March, 2014, 2:00 pm <br />Global Art Forum<br />Art Dubai<br />",
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"header": "<font color=\"orange\">From Gulf to Gulf to Gulf</font><br />Friday, March 28th 2014<br />3:00 pm<br />Helmut Stern Auditorium<br />University of Michigan<br />Ann Arbor<br />",
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"header": "<font color=\"orange\">From Gulf to Gulf to Gulf </font><br />at <br /><font color=\"orange\">Museum for Modern Art in Warsaw</font><br />Sunday, March 23 2014<br />7:00 pm <br />",
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"title": "Tales from the Networked Neighbourhood: The Cinema of CAMP",
"header": "Five films by CAMP curated by Vassily Bourikas and Filmmaker Festival<br /><br /><font color=\"orange\">21st march</font> <br />6:00 pm<font color=\"orange\"> Khirkeeyaan </font>(2006) 17 mins <br />and <font color=\"orange\">Hum Logos </font>(2012) 45 mins<br />at Careof DOCVA, Milan <br /><br /><font color=\"orange\">22nd March </font><br />Cinema Palestrina, Milan<br />5:30 pm<br /><font color=\"orange\">The Neighbour before the House </font>(2011) 60 mins <br />7:30 pm<br /><font color=\"orange\">From Gulf to Gulf to Gulf </font>(2013), 83 mins <br />22:00 pm<br /><font color=\"orange\">The Country of the Blind, and Other Stories</font> (2011), 60 mins<br />",
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"header": "<font color=\"orange\">With Reena Katz Jesal Kapadia and Brian McCarthy, and Naeem Mohaiemen<br />in collaboration with http://pad.ma</font><br />At TPW Gallery R&amp;D, Toronto<br />Images Festival<br />10-26 April, 2014<br />",
"body": "\n\n\t\n\t\n\t\n\t<style type=\"text/css\">A:link { }</style>\n\n\n<p><br />\n</p>\n<p><font face=\"Arial, serif\"><b>Working In and Out of the Archive </b></font>\n</p>\n<p><br />\n</p>\n<p><font face=\"Arial, serif\"><a href=\"http://pad.ma/about\">Pad.ma</a>&nbsp;is\na web-based video platform that offers a practical technical and\nlegal framework through which video footage can be shared, cited and\nreused. Pad.ma proposes that film and video \"production\"\ncan be thought of in an expanded way. For example, by a filmmaker\npublishing video that is not a film, a researcher probing documentary\nimages, a film editor organizing footage using the archive, a writer\ncommenting on one or many video pieces, an artist working online, or\nan institution offering archives for public use. Pad.ma was launched\npublicly in 2008, and is a collaboration between CAMP, Alternative\nLaw Forum and&nbsp;<a href=\"http://0x2620.org/\">0x2620.org</a>. In\n2013 this group also launched <a href=\"http://indiancine.ma/\">http://indiancine.ma</a>,\nwhich aims to act as an online encyclopedia for Indian cinema.</font></p>\n<p><br />\n</p>\n<p><font face=\"Arial, serif\">As a means of exploration \u00e2\u20ac\u201c looking at\nits contents, structures, and possibilities \u00e2\u20ac\u201c Gallery TPW and\nImages Festival invited a group of artists to respond to Pad.ma.\n</font><font face=\"Arial, serif\"><i>Working In and Out of the Archive</i></font><font face=\"Arial, serif\">\npresents the results of these commissioned explorations, with\ncontributions by Jesal Kapadia &amp; Brian McCarthy, Reena Katz, and\nNaeem Mohaiemen, along with Shaina Anand, Ashok Sukumaran, Zinnia\nAmbapardiwala and Jan Gerber of Pad.ma.</font></p>\n<p><br /></p>",
"schedule": "<i>Notes for a Non-Capitalist Cinema</i><br /><b>Jesal Kapadia and Brian McCarthy<br />&nbsp;</b><br />In the face of capitalist responses to environmental and economic crisis, in which the notion of \u00e2\u20ac\u0153property\u00e2\u20ac\u009d is often expanded or intensified \u00e2\u20ac\u201c whether as territorial enclosure, forced extraction and privatization of natural resources, or the privatization of collective knowledge production in the university \u00e2\u20ac\u201c notions of withdrawal and autonomous escape from the destructive machine of capitalism take on a variety of forms. <br /><br />Kapadia and McCarthy's participation in this project is designed to visualize the ways in which spontaneous collective actions and reconfigured notions of \u00e2\u20ac\u0153property\u00e2\u20ac\u009d can take root in a notion of life itself. A new addition to the Pad.ma archive, their work contributes and annotates footage shot by Kapadia in the northeast Indian region of Sikkim. It focuses on activists from ACT (Affected Citizens of Teesta river) and members of the Lepcha tribe, then linking this footage with other material in Pad.ma by various filmmakers, researchers and artists. The project considers a range of non-capitalist implications and manifestations of the footage and documented actions: the potentiality of land without the spectre of monetization; free knowledge production or Lok Vidya (people\u00e2\u20ac\u2122s knowledge) that exceeds the territorial enclosure of the private university; and reclamation of the right to be. The possibilities of poetically interrupting the archive and creating new forms of visualizations are endless, yet what remains to be seen is if desires are rearranged and new subjectivities with a will to social justice are born.<br />Keywords: Hunger Strike, Property, Territory, Duration, Non-Capitalist Life, Lok Vidya, Collective Pedagogy, Ordinary Life.<br /><br /><br /><i>The Shobak Tapes </i>(1993-1994)<br /><b>Naeem Mohaiemen<br /></b><br />Twenty years ago, Mohaiemen started work on an oral history of the 1971 war that split Pakistan and created Bangladesh. At that time, the local context of memorializing was deeply polarized, perhaps only superseded 20 years later by the \"Shahbag movement\" of 2013. Back then in 1993, symbolic trials at Ramna Park in Dhaka saw a crowd of thousands assemble, chanting the demand about the accused 1971 war criminals: \"hang them.\" However, the next year, the most symbolic of the alleged war criminals had obtained Bangladeshi citizenship in a Supreme Court case (Bangladesh Vs. Professor Golam Azam and others, 1994, 23 CLC (AD). In the backdrop of this heated environment, Mohaiemen began his project to document stories of 1971 as \"evidence\" for a reckoning. The people he was interviewing exhibited a surprising ennui and cynicism\u00e2\u20ac\u201c both about the contested record of 1971, and the schizophrenic post-independence present. Unable to resolve these contradictions, and continually hamstrung by his own binary ideas about the \u00e2\u20ac\u0153good war,\u00e2\u20ac\u009d Mohaiemen eventually abandoned the entire project, experiencing over the next few years a gradual alienation from the field of historiography in Bangladesh. He began moving to the visual arts as a space that allowed him more incomplete, speculative, and \"grey zone\" conversations about the 1971 war. After a gap of twenty years, he is uploading the 80 hours of interviews, recorded on hi-8, to http://pad.ma, thus beginning a process of making sense of this failed project\u00e2\u20ac\u201c especially the shifts in his own subject position.<br /><br />Keywords: Bangladesh, Pakistan, India, 1947, 1952, 1971, Partition, Independence, Memory, War Crimes, Reconciliation<br /><br /><br /><i>People Act Dance, Make and Annotate\u00e2\u20ac\u00a8</i><br />Crossing the Everyday Life of Video<br /><b>Pad.ma <br /></b><br />There is everyday life. And there is the everyday life of video. A peculiar cousin of the ordinary in general, is the video ordinary: made up of non-square pixels, proliferating handheld cameras, CCTV, citizen journalists, exacting filmmakers, pervasive television, and all the things that are at stake with and through these things.<br /><br />All gestures in video should be measured, or rubbed up against, its own ordinary. Pad.ma is an archive primarily of footage and not films. It tries to catch this ordinary, and some of its qualities and evolution, in the Indian context in particular. It collects materials and works intensively through them to try and make sense of intentions, technologies, accidents and effects. It asks whether a film can be beautiful from the inside as well as the outside. It thus enquires about not only in what is visible, but also about the backend in which machines or souls that propel or cast images and sounds in a particular way. Even though the video ordinary is constantly overflowing and receding from our attention, Pad.ma tries to parse some of it, for threads that may lead us to new paths.<br /><br />This hour-long assembly from Pad.ma, made and presented using the website, tells a story of the evolution of the video everyday; its practices, effects, appearances and affirmations in relation to an everyday life that itself is changing.<br />&nbsp;<br /><br /><i>The Razia Sessions</i><br /><b>Reena Katz aka Radiodress with: Maricruz Alarc\u00c3\u00b3n, Sharlene Bamboat, Andr\u00c3\u00a9a de Keijzer, Nasrin Himada, Laura Taler, Diana Younes and Alize Zorlutuna<br /></b><br />In the Queering Bollywood section of the Pad.ma archive, there is a short clip from Razia Sultan (1983, dir. Kamal Amrohi, Urdu).&nbsp; The film is based on the life of Razia Sultan (1205\u00e2\u20ac\u201c1240), the only female Sultan of Delhi (1236\u00e2\u20ac\u201c1240). The clip depicts a monologue by one of Razia\u00e2\u20ac\u2122s many suitors.&nbsp; His plea details a long list of sacrifices for the people and the land.&nbsp; It ends with a petition for Razia to recognize his body, one on which \u00e2\u20ac\u0153\u00e2\u20ac\u00a6many wounds of sacrifice can be reckoned.\u00e2\u20ac\u009d<br /><br />Without responding to the suitor Razia beckons her companion to stand.&nbsp; They kiss, and walk away together, holding hands. <br />&nbsp;<br />For The Razia Sessions, Radiodress asked seven of her bi- and poly-linguist comrades, lovers, friends and kin to teach her the thwarted lovers\u00e2\u20ac\u2122 phrase in a language other than English over the internet.&nbsp; Radiodress will do her best to learn the phrase well in the short time they have together.&nbsp; Sometimes, the phrase is untranslatable, other times it is hybridized with English.&nbsp; Often the teachers had to ask their own comrades, lovers, friends and kin to help them with translation.&nbsp; The duets traverse the mistakes together - stumbling, laughing and sharing the gaps each lingual fumble evokes.<br /><br />The Razia Sessions will be recorded live during the Images Festival at TPW\u00e2\u20ac\u2122s R&amp;D space, and uploaded to the Pad.ma site along with their transcriptions.<br /><br />Schedule: <br />Thursday-Saturday, April 10-12: 4pm<br />Tuesday-Thursday, April 15-17: 4pm<br />Saturday, April 19: 1:30pm",
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"title": "Crossing the Everyday life of Video",
"header": "at <br />Asia Art Archive in America <br />Brooklyn, NY <br /><font color=\"orange\">3:30 pm, 13th April, 2014</font><br /><br /><br />",
"body": "<div>There is everyday life. And there is the everyday life of video. A peculiar cousin of the ordinary in general, is the video ordinary: made up of non-square pixels, proliferating handheld cameras, CCTV, citizen journalists, exacting filmmakers, pervasive television, and all the things that are at stake with and through these things.</div>\n<div><br /></div>All \ngestures in video should be measured, or rubbed up against, its own \nordinary. Pad.ma is an archive primarily of footage and not films. It \ntries to catch this ordinary, and some of its qualities and evolution, \nin the Indian context in particular. It collects materials and works \nintensively through them to try and make sense of intentions, \ntechnologies, accidents and effects. It asks whether a film can be \nbeautiful from the inside as well as the outside. It thus enquires about\n not only in what is visible, but also about the backend in which \nmachines or souls that propel or cast images and sounds in a particular \nway. Even though the video ordinary is constantly overflowing and \nreceding from our attention, Pad.ma tries to parse some of it, for \nthreads that may lead us to new paths.<br /><br />This hour-long assembly \nfrom Pad.ma, made and presented using the website, tells a story of the \nevolution of the video everyday; its practices, effects, appearances and\n affirmations in relation to an everyday life that itself is changing.",
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"title": "Radical Archives Conference",
"header": "Archive and Ethics<br /><font color=\"orange\">Keynote by Shaina Anand </font><br />Cantor Film Center, NYU<br />12th April, 2014<br />",
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"header": "<font color=\"#ffa500\">Unreliable Narrators:\n</font>\n<div>Stings to Leaks to Citizen Vigilantes</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">Saturday May 31, 2014</font></div>\n<div>6pm to 8pm</div>\n<div>HKW Berlin.&nbsp;</div>",
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"header": "<div><font color=\"#ffa500\">From Gulf to Gulf to Gulf</font></div>\n<div>at&nbsp;</div>\n<div>Curutiba International Film Festival</div>\n<div>New Views, International Competition</div>\n<div>Curutiba, Brazil</div>\n<div><font color=\"#ffa500\">28th May to June 5, 2014</font></div>\n<div><br /></div>\n<div>Update: awarded the <font color=\"#ffa500\"><i>New Views</i> </font>prize.&nbsp;</div>",
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"header": "<div><font color=\"#ffa500\">From Gulf to Gulf to Gulf&nbsp;</font></div>\n<div>at&nbsp;<font color=\"#ffa500\"><br /></font>\n<div>Agadir International Documentary Festival</div>\n<div>Algeria</div>\n<div><font color=\"#ffa500\">28th april to 4ht May, 2014&nbsp;</font></div></div>",
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"title": "The X-Ray Files",
"header": "<p><font color=\"#ffa500\">From</font><span style=\"color: rgb(255, 165, 0);\">&nbsp;Stings to Leaks to Citizen Vigilantes</span></p>\n<p>A video lecture&nbsp;<br />at&nbsp;<br /><span class=\"s1\"><a href=\"http://camputer.org/campstudio.html\">CAMP Roof</a><u><br /></u></span>Tuesday June 10 <br />7:30 - 10:30 &nbsp;pm<br /></p>",
"body": "<img src=\"http://camputer.org/images/xray.jpg\" width=\"100%\" />\n<br /><br />\n\n<p>As the story goes, villagers in Jaunpur, or women labourers in Bangalore (depending on if you want to believe&nbsp;<a href=\"http://www.india-seminar.com/2001/502/502%20tarun%20tejpal.htm\"><span class=\"s1\">Tejpal</span></a>&nbsp;or&nbsp;<span class=\"s1\"><a href=\"http://combatlaw.org/wp-content/uploads/2011/03/Price%20of%20taking%20on%20priviledged%20corrupt.pdf\">Bahal</a>&nbsp;</span>on this) responded to early sting operations by invoking an image of tehelka dot com as an x-ray machine located in Delhi that would expose everyone\u00e2\u20ac\u2122s corruption as soon as they came in front of it. This apocryphal story became a kind of intuitive peg for conceptual connections between hidden cameras and transparency in governance and intentions.&nbsp;\n</p>\n<p class=\"p1\"></p>\n<p class=\"p1\">But all metaphors have their limits. X-rays don\u00e2\u20ac\u2122t usually tell you if their subject is even alive or not. People (we will see) are being slapped and pinched even while under \u00e2\u20ac\u0153truth serum\u00e2\u20ac\u009d. Truth in other words, is extracted or built by a combination of means. The \u00e2\u20ac\u0153transparency\u00e2\u20ac\u009d produced by early hidden camera recordings relied on&nbsp;elaborate mise-en-scene or \u00e2\u20ac\u0153setting\u00e2\u20ac\u009d: fictional scripts, unreliable narrators, great performances and hungry network audiences. Stings and leaks in India have been largely an audio-visual medium, framing violence and encounter, far from transparently or opaquely, as a new skin of documentary experience.&nbsp;</p>\n<p class=\"p1\">This evening we present a long-format (2 hour 30 minutes) artists\u00e2\u20ac\u2122 rendering of a history of images and sounds produced by stings, leaks and more recent citizen vigilante media, with TV overlays and edit styles removed or undone. We follow an evolution or descent of these forms from energetic origins in new media journalism, via proliferating leaks, into an ordinary in which \u00e2\u20ac\u0153every citizen now becomes an anti-corruption inspector\u00e2\u20ac\u009d, in the words of Aam Aadmi Party\u00e2\u20ac\u2122s new Chief Minister of Delhi, at the start of this year.&nbsp;</p>\n<p class=\"p1\">There is a difference between ideology and the way things actually look. (It can look worse too). Direction, framing, timing, empathy or lack of it, and again mise-en-scene, count in the difference. Video in this form <i>is</i> a crafted relation between selves and others, a test of ethics far beyond the law, and a precedent for what distributed technologies can do. V<span class=\"s1\">ideo's own protocols are far from settled, and it cruises the edges of \"the networks\".&nbsp;</span>There are a lot of questions here about what a democracy or community of images might look like. For while the selfie says radically, \u00e2\u20ac\u0153I represent myself\u00e2\u20ac\u009d, the easier wrist position, or higher Mp camera, still points outward.&nbsp;</p>\n<p class=\"p1\">\n\n\n\n\n\n\n\n</p>\n<p class=\"p1\">(Part of this material was presented recently as a two-hour video lecture at the 3rd Berlin Documentary Forum, HKW, Berlin.)&nbsp;</p>\n<p class=\"p1\">Acknowledgements</p>\n<p class=\"p1\">In Delhi:&nbsp;<br />Tehelka,&nbsp;Cobrapost,&nbsp;Gulail,&nbsp;AAP <br />Aniruddha Bahal, Satyashree Gandham, Shaunak Sen, Aastha Chauhan, Ankit Lal, Vinay Shukla&nbsp;</p>\n<p class=\"p1\">At CAMP and Bombay: <br />Zinnia Ambapardiwala, Prerna Bishnoi, Omkar Khandekar, Ashwin Nag, Geeta Sheshu</p>\n<p class=\"p1\">At Pad.ma:<br />Lawrence Liang, Jan Gerber&nbsp;</p>\n<p class=\"p1\"><br /></p>\n<p class=\"p1\"><br /></p>\n<p class=\"p1\"><br /></p>\n<p class=\"p1\"><br /></p>",
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"header": "<font color=\"#ffa500\">Screenings of three CAMP films\n</font>\n<div>June 21 to 29</div>\n<div>MoMA, New York</div>\n<div>Flaherty Seminar Program</div>\n<div><br /></div>\n<div>and</div>\n<div>Modern Monday<br />June 23, at 7:00 pm</div>\n<div><br /></div>",
"body": "<div>\n<div>A talk with Shaina Anand, Duncan Campbell and Shuddhabrata Sengupta is on&nbsp;</div>\n<div>Monday, June 23, at 7:00 pm</div></div>\n<div><a href=\"http://www.moma.org/visit/calendar/film_screenings/21140\">http://www.moma.org/visit/calendar/film_screenings/21140</a></div>",
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"header": "<font color=\"#ffa500\">Turning The Inside Out<br /></font>The 60th Robert Flaherty Seminar<br /><font color=\"#ffa500\"><br /></font>\n<div><font color=\"#ffa500\">June 14 to June 20, 2014</font></div>\n<div>Colgate University, Hamilton, New York</div>\n<div><br /></div>\n<div>Camp was one of the featured artists this June. Films screened include <i>Hum Logos</i>, <i>CCTV Social - Capital Circus,</i> <i>The Neighbour before the House,</i> and <i>From Gulf to Gulf to Gulf</i>.&nbsp;</div>\n<div><br /></div>",
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"header": "<font color=\"#ffa500\"><a href=\"http://pad.ma\">Pad.ma</a> has a sister now.&nbsp;<br /><br /></font>\r\n<div><a href=\"http://indiancine.ma\">indiancine.ma&nbsp;</a>&nbsp;was launched at Jaaga, Bangalore by Sebastian L\u00c3\u00bctgert and Jan Gerber in February 2013. <br /><a href=\"http://indiancine.ma\">Indiancine.ma </a>is an annotated online archive of Indian film. It is intended to serve as a shared resource for film scholars and enthusiasts in India and beyond.</div>\r\n<div><br /></div>\r\n<div><a href=\"http://indiancine.ma/\">indiancine.ma&nbsp;</a>&nbsp;has been initiated by <a href=\"http://pad.ma\">Pad.ma</a>, and will be operated by a network of film studies institutions in India. The initial set of films and metadata is based on Ashish Rajadhyaksha's and Paul Willemen's Encyclopedia of Indian Cinema, and the Indiancine.ma Wiki. <br /><br /></div>",
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"title": "CAMP's 6\u00e2\u2026\u017e anniversary party",
"header": "<div><font color=\"#ffa500\">CAMP, \u00ef\u00bc\u2013\u00e2\u2026\u017e years</font></div>\n<div>Monday, October 6th (Eid)&nbsp;</div>\n<div>6:30 pm. onwards</div>\n<div>CAMP Roof</div>",
"body": "<p>A recent \"reboot\" of our studio has resulted in new spaces and functions: an editing studio, a books and catalogues library, an offline film and video archive, and a workshop space, in addition to our old open-air screening venue. &nbsp;Divide and multiply.<br /><br />So, \"don't wait for the anniversary\" we said, and wanted to invite you all to a seven year (ek soot kum) celebration of CAMP, the place.&nbsp; Which now rests among other unlikely things, on cardboard tubes, compressed plastic waste and cooling fans - the recent physical efforts and creativity of several people who you will meet there.&nbsp;</p>\n<p>Since late 2007 (and before that by other names) we have worked as a group in a range of \u00e2\u20ac\u0153infrastructural\u00e2\u20ac\u009d contexts: electricity, CCTV, ships, archives to name a few. Through and with them, rather than for and of them. In other words, it has been our belief that these are&nbsp;locations from which a new sensorium can be produced, and solidarities remade.<i>&nbsp;</i>Here&nbsp;is where artistic assemblies should nest, and provoke. The studio is a kind of \"internal extension\" of such ideas.&nbsp;Ideas and objects that travel backwards from journeys, collaborations and various leaps of faith, and sometimes stick to the insides of a holding chamber, the studio. Where something else happens to them. They become part of a social space. They gather as selections, bodies, cuts, scripts, new raw materials from the incredible range of what could be thought of as \u00e2\u20ac\u0153culture\u00e2\u20ac\u009d today.&nbsp;</p>\n<p>Over the years our studio has been a semi-public space that hosts events, projects and people beyond ourselves. Our desire is very much to refresh this invitation; to use these particular/ peculiar resources and spaces in the city.&nbsp;</p>\n<p><b>The evening will begin at 6:30 pm on Monday, October 6th</b>, and will include:&nbsp;<br />A short survey of conceptual, technical, sensual and political orientations of what has been happening at CAMP. A studio tour. Ongoing work on archive projects&nbsp;<a href=\"http://pad.ma/\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">pad.ma</a>&nbsp;and&nbsp;<a href=\"http://indiancine.ma/\" target=\"_blank\" style=\"color: rgb(17, 85, 204);\">indiancine<wbr>.ma</a>. Near future plans, including new CAMP websites, and exhibitions upcoming in winter and spring.&nbsp;Acknowledgements. Food and drink as always.&nbsp;</p>\n<p>Cheers, and we hope to see you, comrades, friends, neighbours, spies,&nbsp;<br /></p>\n<p>Shaina Anand<br />Sanjay Bhangar<br />Ashok Sukumaran<br />Zinnia Ambapardiwala</p>",
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"header": "<font color=\"#ffa500\">Copyright This!&nbsp;</font>and&nbsp;<font color=\"#ffa500\">Suroor TV</font>\n<div>in</div>\n<div><font color=\"#ffa500\">EROS</font></div>\n<div>University Museum and Art Gallery<br />The University of Hong Kong</div>\n<div>October 18\u00e2\u20ac\u201cNovember 23, 2014</div>",
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"title": " Writing Histories for Indian Cinema, Chapter Two",
"header": "<span style=\"font-size: 15px; font-family: 'Times New Roman', serif;\">Organized by<br /></span><span style=\"font-family: 'Times New Roman', serif; font-size: 15px;\"><font color=\"#ffa500\">Department of Film Studies, Jadavpur University</font><br /></span><span style=\"font-family: 'Times New Roman', serif; font-size: 15px;\">in collaboration with&nbsp;<br /></span><span style=\"font-family: 'Times New Roman', serif; font-size: 15px;\"><font color=\"#ffa500\">Pad.ma<br /></font></span><span style=\"font-size: 15px; font-family: 'Times New Roman', serif;\">October 30-31, 2014<br /></span><span style=\"font-size: 15px; font-family: 'Times New Roman', serif;\">Anita Banerjee Memorial Hall, Jadavpur University main campus</span>\n<p></p>",
"body": "<div>The 2014 annual seminar organized by Department of Film Studies, Jadavpur University, wishes to revisit the theme of our 2009 seminar on Writing Histories for Indian Cinema. Apart from continuing the debates on Indian film history and historiography, this year\u00e2\u20ac\u2122s seminar will focus on the ongoing archival initiative hosted at <a href=\"http://indiancine.ma\">http://indiancine.ma</a>, an initiative of the <a href=\"http://pad.ma\">http://Pad.ma</a> &nbsp;project with which the Department and The Media Lab, JU, has become closely associated. While that platform promises to be a valuable research and teaching aid it has also generated debates about methodologies as well as the intellectual content of the discipline of film studies.&nbsp;</div>\n<div><br /></div>\n<div>The first of this two-day event shall focus on historical questions pertaining to periods, genres, regions, institutions and inter- media relationships. &nbsp;The second day will begin with reflections on contemporary practice and then shift to the idea and practice of digital archiving, bringing on board questions such as conceptualizing regional cinemas or reconstructing filmographies against the new digital horizon. Practitioners and researchers who have worked on the <a href=\"http://indiancine.ma\">http://indiancine.ma</a> &nbsp;platform shall critically reflect on their experience, followed by Cinemathon, a hands-on workshop to acquaint scholars and students with the processes of digital annotation.</div>\n<div><br /></div>\n<div><br /></div>\n<div>Subhajit Chatterjee</div>\n<div>Moinak Biswas</div>\n<div><br /></div>\n<div>Seminar Coordinators</div>",
"schedule": "<div>Day 1: Oct 30, 2014, Thursday</div>\n<div><br /></div>\n<div>Welcome address: Head, Department of Film Studies</div>\n<div>10-00 am-10.15 am</div>\n<div>&nbsp;</div>\n<div>Tea break: 10.15- 10.30 am</div>\n<div><br /></div>\n<div>Session I: 10.30 am-11.15 am</div>\n<div><br /></div>\n<div>Chair: Moinak Biswas (Department of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div>Paper 1: Myths, Markets and Panics: Speculating about the Proto-Cinematic Historical Significance of the Popularity of Two Parsi Theatre Plays at the Turn of the Twentieth Century</div>\n<div><br /></div>\n<div>Kaushik Bhaumik (Jawaharlal Nehru University, Delhi)</div>\n<div><br /></div>\n<div>Session II: 11.15 am -12.00 pm</div>\n<div><br /></div>\n<div>Chair: Sanjoy Mukhopadhyay (Department of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div>Paper 2: Theatre and Cinema: Aspects of a Cultural History</div>\n<div><br /></div>\n<div>M. Madhava Prasad (English and Foreign Languages University, Hyderabad)</div>\n<div><br /></div>\n<div><br /></div>\n<div>Session III: 12.00- 12.45 pm</div>\n<div><br /></div>\n<div>Chair: Subhajit Chatterjee (Dept. of Film Studies, Jadavpur University)&nbsp;</div>\n<div><br /></div>\n<div>Paper 3: Risk, Precarity and Desire: \u00e2\u20ac\u02dcAccidental\u00e2\u20ac\u2122 Histories of Film Work in Bombay's Early Talkie Industry (1930s-1940s)</div>\n<div><br /></div>\n<div>Debashree Mukherjee (New York University)</div>\n<div><br /></div>\n<div><br /></div>\n<div>Lunch: 12-45 pm- 1.30 pm</div>\n<div><br /></div>\n<div><br /></div>\n<div>Session IV: 1.30 pm \u00e2\u20ac\u201c 2.15 pm</div>\n<div><br /></div>\n<div>Chair: Ashish Rajadhyaksha (Centre for the Study of Culture &amp; Society, Bangalore)</div>\n<div><br /></div>\n<div>Paper 4: Transitional Genres: Reflections on the Bengali \u00e2\u20ac\u02dcMystery-Thriller\u00e2\u20ac\u2122 Film in Post-Independence Era</div>\n<div><br /></div>\n<div>Subhajit Chatterjee (Dept. of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div><br /></div>\n<div>Session V: 2.15 pm \u00e2\u20ac\u201c 3.00 pm</div>\n<div><br /></div>\n<div>Chair: Manas Ghosh (Dept. of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div>Paper 5: Resurgence of the Regional: Towards the 'New-Turn' in Marathi Cinema</div>\n<div><br /></div>\n<div>Hrishikesh Ingle (English Foreign Languages University, Hyderabad)</div>\n<div><br /></div>\n<div><br /></div>\n<div>Tea Break : 3.00-3.15 &nbsp;pm</div>\n<div><br /></div>\n<div>Session VI: 3.15 \u00e2\u20ac\u201c 4.00 pm</div>\n<div><br /></div>\n<div><br /></div>\n<div>Chair : M. Madhava Prasad (English &amp; Foreign Languages University, Hyderabad)</div>\n<div><br /></div>\n<div>Paper 6: Watching Without Seeing: Contemporary Bengali Popular Films and Unpopulated Cinemas</div>\n<div><br /></div>\n<div>Madhuja Mukherjee (Dept. of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div><br /></div>\n<div>Session VII: 4.00 pm \u00e2\u20ac\u201c 4.45 pm</div>\n<div><br /></div>\n<div>Chair: Anindya Sengupta (Dept. of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div>Paper 7: Cinema Halls: The Lost Neighbourhood</div>\n<div><br /></div>\n<div>Dhriti Sundar Roy Chowdhury (Dept. of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div><br /></div>\n<div><br /></div>\n<div>Day 2: Oct 31, 2014, Friday</div>\n<div><br /></div>\n<div>Session I: 10.30 am-11.15 am</div>\n<div><br /></div>\n<div>Chair : Madhuja Mukherjee (Dept. of Film Studies, Jadavpur University)&nbsp;</div>\n<div><br /></div>\n<div>Paper 8: Bombay Noir</div>\n<div><br /></div>\n<div>Lalitha Gopalan (The University of Texas at Austin, USA)</div>\n<div><br /></div>\n<div>Tea Break: 11.15 am-11.30 am&nbsp;</div>\n<div><br /></div>\n<div>Session II: 11.30 am-12.15 pm</div>\n<div><br /></div>\n<div>Chair: Abhijit Roy (Dept. of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div>Paper 9: Reconstructing the Filmography - Part II</div>\n<div><br /></div>\n<div>Ashish Rajadhyaksha (Centre for the Study of Culture &amp; Society, Bangalore)</div>\n<div><br /></div>\n<div><br /></div>\n<div>Session III: 12. 15 \u00e2\u20ac\u201c 12.45 pm&nbsp;</div>\n<div><br /></div>\n<div>Chair: Shradhanjali Tamang (Dept. of Film Studies, Jadavpur University)</div>\n<div><br /></div>\n<div>Presentation on History/Historicity in Malayalam Cinema of the 1960s and 1970s</div>\n<div><br /></div>\n<div>Satish Poduval (English &amp; Foreign Languages University, Hyderabad)</div>\n<div><br /></div>\n<div>Lunch: 12.45 \u00e2\u20ac\u201c 1.30 pm&nbsp;</div>\n<div><br /></div>\n<div>Session IV 1.30 \u00e2\u20ac\u201c 3.15 pm</div>\n<div><br /></div>\n<div>Chair: Ashish Rajadhyaksha&nbsp;</div>\n<div><br /></div>\n<div>Indiancine.ma panel presentations by research scholars associated with Pad.ma, CAMP, Mumbai and the Media Lab, Jadavpur University:</div>\n<div><br /></div>\n<div>Ananya Parikh&nbsp;</div>\n<div>Debashree Mukherjee&nbsp;</div>\n<div>Maharghya Chakrabarty&nbsp;</div>\n<div>Utsab Sen</div>\n<div><br /></div>\n<div><br /></div>\n<div>Coffee Break: 3.15-3.30 pm</div>\n<div><br /></div>\n<div>Session V: 3.30- 5.00</div>\n<div><br /></div>\n<div>Cinemathon: Indiancine.ma workshop&nbsp;</div>\n<div><br /></div>\n<div>To be conducted by Zinnia Ambapardiwala, Ananya Parikh &nbsp;and Ashish Rajadhyaksha&nbsp;</div>\n<div><br /></div>\n<div>Valedictory Address: 5.00 pm</div>\n<div><br /></div>",
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"header": "<font color=\"#ffa500\">The Radia Tap(e)s:&nbsp;</font><br />\r\n<div>Act I Swearing-in Whispers</div>\r\n<div>Act II Hum Logos&nbsp;<br />\r\n<div>at&nbsp;</div>\r\n<div><font color=\"#ffa500\">Museum of Interruptions</font></div>\r\n<div>Rangoli Metro Art Center, &nbsp;Bangalore&nbsp;</div>\r\n<div><font color=\"#ffa500\">25th to 30th November</font></div>\r\n<div><br />Closing event:&nbsp;</div>\r\n<div><font color=\"#ffa500\">Pal Pal Pal Pal (featuring Niira Radia and friends)&nbsp;</font></div>\r\n<div>A Screenplay reading of Act I followed by the screening of Act II</div>\r\n<div>1Shanthi Road, Bangalore</div>\r\n<div><font color=\"#ffa500\">November 30th, 6pm</font></div>\r\n<div><br /></div></div>",
"body": "<div>Niira Radias: Miriam Joseph and Nishka Crishna&nbsp;</div>\r\n<div>A Raja and Tarun Das: Gowthaman Ranganathan</div>\r\n<div>Barkha Dutt: Ishana Tripathi</div>\r\n<div>Kanimozhi: Kavya Murthy</div>\r\n<div>Shankkar Aiyar: Sanjeev Narrain&nbsp;</div>\r\n<div>Vir Sanghvi and Sunil Arora: Ashok Sukumaran</div>\r\n<div>RK Chandolia: Akhil Kang</div>\r\n<div>Narrator: Danish Sheikh&nbsp;</div>\r\n<div>Voice of God: Lawrence Liang&nbsp;</div>\r\n<div><br />Thanks: Prerna Bishnoi, Suresh Jayaram, Marjorie Rodrigues.&nbsp;</div>\r\n<div><br /></div>\r\n<div>Thank you all for a wonderful reading.&nbsp;</div>\r\n<div><br /></div>\r\n<div>The Radia Tape leaks have been described as \u00e2\u20ac\u0153essential listening for anyone trying to be a journalist.\u00e2\u20ac\u009d This invitation could be extended to anyone interested in contemporary rhetoric, and the links between speech, communication and politics.&nbsp;</div>\r\n<div>Act I (Swearing-in Whispers) is a screenplay in Courier 12pt melodramatic format, spanning four days in the wake of the general elections of 2009. Act II (Hum Logos) is a 45-minute audio film following from where the screenplay ends, taking us across the next two months.&nbsp;</div>\r\n<div><br /></div>\r\n<div>With the new cabinet in power, a lobbyist goes about her business - from cellphones to cooking gas to news media. Later, several top journalists would claim that they were just \"stringing her along\", and their conversations were not based on and had no impact on reality. A broad spectrum of rhetorical agents: &nbsp;lies, cries, &nbsp;pen drives, &nbsp;family feuds and bad networks can thus be heard pulsing through the nervous systems of Indian democracy. The original recordings were made by the government. The screenplay slows them down and asks: what kinds of environments and scenes may lie behind them? The film asks: if debate around these tapes is about whether they are edited or not, or as Justice Mukhopadhay put it if \"splice has been added\", then what could further editing do?</div>\r\n<div><br /></div>",
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"header": "<div>Selected Works from the 60th Flaherty Film Seminar&nbsp;</div><font color=\"#ffa500\">The Neighbour Before the House</font> (60 mins)\n<div>and<br /><font color=\"#ffa500\">Capital Circus</font> (27 min)</div>\n<div>WHS Teatreri Film Union<br /></div>\n<div>Helsinki</div>\n<div><font color=\"#ffa500\">December 4, 6:00pm&nbsp;</font></div>\n<div><br /></div>",
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"header": "<font color=\"#ffa500\">Save the Dates!&nbsp;</font>\n<div>As If (I-V)&nbsp;</div>\n<div><br /></div>\n<div>\n<div><i><font color=\"#ffa500\">As If \u00e2\u20ac\u201c I &nbsp;Rock, Paper, Scissors</font></i></div>\n<div>EXPERIMENTER, Kolkata</div>\n<div>January 7 - February 20 &nbsp;2015</div>\n<div><br /></div>\n<div><i><font color=\"#ffa500\">As If \u00e2\u20ac\u201c II &nbsp;Flight of the Black Boxes</font></i></div>\n<div>24 JORBAGH, New Delhi</div>\n<div>January 27 - February 24 &nbsp;2015</div>\n<div><br /></div>\n<div><i><font color=\"#ffa500\">As If \u00e2\u20ac\u201c III &nbsp;Country of the Sea</font></i></div>\n<div>BHAU DHAJI LAD MUSEUM, Mumbai</div>\n<div>February 21 - April 7 &nbsp;2015</div>\n<div><br /></div>\n<div><i><font color=\"#ffa500\">As If \u00e2\u20ac\u201c IV &nbsp;Night For Day</font></i></div>\n<div>CHEMOULD PRESCOTT ROAD, Mumbai</div>\n<div>March 9 - April 30 &nbsp;2015</div>\n<div><br /></div></div>\n<div><i><font color=\"#ffa500\">As If \u00e2\u20ac\u201c tV &nbsp;</font></i></div>\n<div>\n<div>Clark House Initiative, Mumbai</div>\n<div>March 29 - May 20 &nbsp;2015</div></div>\n<div><i><font color=\"#ffa500\"><br /></font></i></div>\n<div><i><b><font color=\"#ffa500\">AS IF&nbsp;</font></b></i>is a series of exhibitions by CAMP across the winter /summer of 2014-15.</div>\n<div><br /></div>",
"body": "<div>Retrospective in spirit, these shows gather for the first time in solo exhibition form many of the artworks and ideas crafted by CAMP as a group since 2007, and by its constituent individuals since 2002.&nbsp;</div>\n<div><br /></div>\n<div>\u00e2\u20ac\u0153In expressions like <a href=\"https://pad.ma/UN/player/AI\">Kelucharan as Radha</a>, <a href=\"http://www.medienkunstnetz.de/works/tv-as-a-fireplace/\">TV as a Fireplace</a> or <a href=\"http://en.wikiversity.org/wiki/Aspect_seeing\">Seeing it as a Rabbit</a>, we see the key role of the small word <i>as</i>. <i>As</i> carries mimesis, metaphor, selection, or adaptation \u00e2\u20ac\u201c so many of the classic powers of art. &nbsp;<i><b>As If</b></i> is riskier, more tensile. It reaches for things that have receded from the senses, or that are 'so close, yet so far'. Or that can be thought of and said, but not easily done. <i>As If </i>suggests semblance, structures and desires stretched in both directions: more unlikely, more utopian, but also more concrete, more realised. <i>As If</i> is a two-way bridge between imagination and intimacy.\u00e2\u20ac\u009d \u00e2\u20ac\u201c <b>CAMP</b></div>\n<div><br /></div>\n<div>CAMP is a collaborative studio founded in Bombay in 2007. It has been producing fundamental new work in video and film, electronic media, and public art forms, in a practice characterised by a hand-dirtying, non-alienated relation to technology. CAMP's projects have entered many modern social and technical assemblies: energy, communication and surveillance systems, neighbourhoods, ships, archives \u00e2\u20ac\u201c things much larger than itself. These are shown as not having a fixed function or destiny, making them both a medium and stage for artistic activity.</div>\n<div><br /></div>\n<div>CAMP\u00e2\u20ac\u2122s work has been shown in venues such as Khoj, Sarai, Lalit Kala Akademi and NGMA New Delhi, MoMA and New Museum New York, Serpentine Galleries and Gasworks London, Ars Electronica Linz, HKW Berlin, MoMA Warsaw, Askhal Alwan Beirut, Experimenter Kolkata and Documenta 13 Kassel; in the streets and markets of Bangalore, San Jose, Dakar, Mexico City, East Jerusalem, Delhi and Bombay; in the biennials of Shanghai, Sharjah, Gwangju, Taipei, Singapore, Liverpool and Kochi-Muziris; at film venues such as the AV Festival, BFI London Film Festival, Viennale, Flaherty Seminar, Anthology Film Archives, and CAMP\u00e2\u20ac\u2122s own rooftop cinema. From their home base in Chuim village, they co-host the online archive <a href=\"httpL//pad.ma\">Pad.ma</a> and <a href=\"http://indiancine.ma\">Indiancine.ma</a>, among other long-duree activities.&nbsp;</div>\n<div><br /></div>\n<div>As If &nbsp;I-V is a survey of CAMP\u00e2\u20ac\u2122s unique work and working methods, in a series of exhibitions across Kolkata, Delhi and Mumbai. More, coming soon.&nbsp;</div>\n<div><br /></div>",
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"header": "<div><font color=\"#ffa500\">EXPERIMENTER, Kolkata</font></div>\n<div>January 7 - February 10 &nbsp;2015</div>\n<div>\n<div><br /></div>\n<div>An old game of hand-commanded powers:&nbsp;</div>\n<div><br /></div>\n<div><i>Jan, Ken, Pon</i></div>\n<div><i>Mushti, Pataka, Kartarimukha</i></div>\n<div><br /></div>\n<div>An interplay of forces in which the roles of Subject, Medium and Author can be exchanged, and also changed.</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">Three Early Works&nbsp;</font></div></div>",
"body": "<div>\n<div>In three early works, the roles of subject, medium and author are already rearranged. They struggle with each other on an equal plane. In a sculptural work, video is seen as a physical force disturbing and seducing subjects. Next to this, a collaboration unfolds in a large mall, in which security people, members of the public and 208 cameras are participants. A third work jujitsus television sets, CCTV and neighbours to reconfigure space, speech and hierarchy in a Delhi neighbourhood.</div></div>\n<div><br /></div>\n<div>These are formative works by members of CAMP. <i><b>Windscreen</b> </i>is from 2002, and has never been recreated. It renders video as a physical force, as well as lure and trap. <b><i>Capital Circus</i></b> consists of actions followed by 208 CCTV cameras inside the largest mall in Europe, in the city centre of Manchester in 2008. This reworking of the roles of camera operators, publics and CCTV itself yields recordings which are here edited into a film, exhibited recently at the MoMA, Anthology Film Archives and Flaherty Seminar New York, and the Museum of Contemporary Art Tokyo. <b><i>Khirkeeyaan</i></b> took place in the Khirkee neighbourhood of Delhi in 2006, during a residency at Khoj. It involved near and far neighbours talking to each other over household, shop and factory-basement television sets. <b><i>Khirkeeyaan</i></b> was part of a historical survey of artists interventions into broadcasting at the AV Festival in 2008 and has been shown at the Power Plant Toronto, Frankfurt Kunstverein, Kunstsammlung Nordrhein-Westfalen Dusseldorf, Henie Onstad Kunstsenter Oslo, Cornerhouse Manchester, Hatton Gallery Newcastle, Sarai Delhi etc, and was recently part of <i>Tales from the Networked Neighbourhood: The Cinema of CAMP</i> with Filmmaker Festival, Milan.</div>\n<div>\n<div><br /></div></div>",
"schedule": "<div>CAMP</div>\n<div>As If &nbsp;(I - IV)</div>\n<div><br /></div>\n<div>As If &nbsp;is the title of a series of exhibitions by CAMP in early 2015. Retrospective in spirit, these shows gather for the first time in solo exhibition form, many of the artworks and ideas crafted by CAMP as a group since 2007, and by its constituent individuals since 2002.</div>\n<div><br /></div>\n<div>\u00e2\u20ac\u0153In expressions like&nbsp;<a href=\"https://pad.ma/UN/player/AI\">Kelucharan as Radha</a>,&nbsp;<a href=\"http://www.medienkunstnetz.de/works/tv-as-a-fireplace/\">TV as a Fireplace</a>&nbsp;or&nbsp;<a href=\"http://en.wikiversity.org/wiki/Aspect_seeing\">Seeing it as a Rabbit</a>, we see the key role of the small word as. As carries mimesis, metaphor, selection, or adaptation \u00e2\u20ac\u201c so many of the classic powers of art. &nbsp;As If is riskier, more tensile. It reaches for things that have receded from the senses, or that are 'so close, yet so far'. Or that can be thought of and said, but not easily done. As If suggests semblance, structures and desires stretched in both directions: more unlikely, more utopian, but also more concrete, more realised. As If is a two-way bridge between imagination and intimacy.\u00e2\u20ac\u009d \u00e2\u20ac\u201c CAMP</div>\n<div><br /></div>\n<div>CAMP is a collaborative studio founded in Bombay in 2007. It has been producing fundamental new work in video and film, electronic media, and public art forms, in a practice characterised by a hand-dirtying, non-alienated relation to technology. CAMP's projects have entered many modern social and technical assemblies: energy, communication and surveillance systems, neighbourhoods, ships, archives \u00e2\u20ac\u201c things much larger than itself. These are shown as not having a fixed function or destiny, making them both a medium and stage for artistic activity.</div>\n<div><br /></div>\n<div>CAMP\u00e2\u20ac\u2122s work has been shown in venues such as Khoj, Sarai, Lalit Kala Akademi and NGMA New Delhi, MoMA and New Museum New York, Serpentine Galleries and Gasworks London, Ars Electronica Linz, HKW Berlin, MoMA Warsaw, Askhal Alwan Beirut, Experimenter Kolkata and Documenta 13 Kassel; in the streets and markets of Bangalore, San Jose, Dakar, Mexico City, East Jerusalem, Delhi and Bombay; in the biennials of Shanghai, Sharjah, Gwangju, Taipei, Singapore, Liverpool and Kochi-Muziris; at film venues such as the AV Festival, BFI London Film Festival, Viennale, Flaherty Seminar, Anthology Film Archives, and CAMP\u00e2\u20ac\u2122s own rooftop cinema. From their home base in Chuim village, they co-host the online archives Pad.ma and Indiancine.ma, among other long-duree activities.</div>\n<div><br /></div>\n<div>As If I-IV is a survey of CAMP\u00e2\u20ac\u2122s unique work and working methods, in a series of exhibitions across Kolkata, Delhi and Mumbai</div>",
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"header": "<div>\n<div>As If \u00e2\u20ac\u201c III &nbsp;Country of the Sea</div>\n<div>DR. BHAU DHAJI LAD MUSEUM, Mumbai</div>\n<div>February 21 - April 2 &nbsp;2015</div></div>\n<div><br /></div>A journey with CAMP\u00e2\u20ac\u2122s five-year Wharfage project and related maritime explorations.",
"body": "&nbsp;The city premiere of the widely-travelled film <i>From Gulf to Gulf to Gulf. </i>In other antagonisms: labour deep inside containers, voyeurs in the busiest shipping channel, lists arguing with lists, photographs of other photographs, and a wall-map titled <i>The Country of the Sea</i>. A counterpoint to both the imperial 'view from the boat', and to contemporary metaphors of the 'liquidity' and 'flow' of oceanic and global relations.",
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"title": "As If - II Flight of the Black Boxes",
"header": "<div><span style=\"color: rgb(255, 165, 0);\">24 JORBAGH, </span><span style=\"color: rgb(255, 165, 0);\">New Delhi</span></div>\n<div>January 27 - February 24 &nbsp;2015</div>\n<div>\n<div><br /></div>\n<div>Born in experimentation and uncertainty, black boxes of machines and institutions surround us with seemingly smooth and impenetrable functions. But reintroduce the uncertainty, reopen the conflicts, and the box appears stable in neither form nor function.</div>\n<div><br /></div>\n<div>Twelve works by CAMP look out through the interior worlds of cameras, memory devices, surveillance systems and more, developing feelings and strategies along with them.&nbsp;</div></div>",
"body": "<div>Members of the public enter security rooms to dialogue with operators. Elsewhere, a single CCTV camera films from the parapets of Palestinian homes, looking over neighbourhoods that are being broken up into countries. Forces gather into shapes in Bombay, Delhi, Rostock or Lubljana. A room camera obscura interrupts the black box of video art with live bodies and trees. The house itself, in a constant state of exhibition and erasure, extrudes changing alphabets in a new work called \"Four-Letter Film\".</div>\n<div><br /></div>",
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"header": "<div>\n<div><font color=\"#ffa500\">DR. BHAU DHAJI LAD MUSEUM, Mumbai</font></div>\n<div>February 21 - April 7 &nbsp;2015</div></div>\n<div><br /></div>A journey with CAMP\u00e2\u20ac\u2122s five-year Wharfage project and related maritime explorations.\n<div><br /></div>\n<div>The city premiere of the widely-travelled film&nbsp;<i>From Gulf to Gulf to Gulf.&nbsp;</i>In other antagonisms: labour deep inside containers, voyeurs in the busiest shipping channel, lists arguing with lists, photographs of other photographs, and a wall-map titled&nbsp;<i>The Country of the Sea</i>. A counterpoint to both the imperial 'view from the boat', and to contemporary metaphors of the 'liquidity' and 'flow' of oceanic and global relations.</div>",
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"title": "As If - IV Night for Day",
"header": "<div><font color=\"#ffa500\">CHEMOULD PRESCOTT ROAD, Mumbai</font></div>\n<div>\n<div>March 9 - April 30 &nbsp;2015</div>\n<div><br /></div>\n<div>Choreographed together, electric, sonic, filmic and other uncategorisable works from 2002 to 2014 that took place in the nighttime worlds of Bombay, Delhi, Bangalore, Sharjah, Dakar, Kabul, Mexico and other cities.&nbsp;</div></div>",
"body": "<div>'Day for Night' in film is when scenes shown as night are actually shot in the day. The reverse idea promotes night as the imaginative, cinematic and subterranean aspect that undergrids daytime. And troubles the \u00e2\u20ac\u02dceveryday\u00e2\u20ac\u2122 by distributing its energies differently.</div>\n<div><br /></div>",
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"title": "After Midnight: Indian Modernism To Contemporary India 1947/1997",
"header": "<div>Queens Museum, NY</div>\n<div>Mar 8 2015m - Jun 28 2015</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">From Gulf to Gulf to Gulf &nbsp;(83 mins)&nbsp;</font></div>\n<div><font color=\"#ffa500\">and Stuffing and Destuffing (4 channel looped video 9 mins)</font></div>",
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"header": "<font color=\"#ffa500\">From Gulf to Gulf to Gulf&nbsp;</font>\n<div>M+&nbsp;</div>\n<div>Hongkong&nbsp;</div>\n<div>13 March to 26 April 2015&nbsp;</div>\n<div><br /></div>",
"body": "<div>Mobile M+: Moving Images is curated by Yung Ma and includes works by CAMP, Paul Chan, Chen Chieh-jen, David Diao, Estudio Teddy Cruz, Simryn Gill, Dominique Gonzalez-Foerster, Isaac Julien, Kan Xuan, William Kentridge, Hassan Khan, Firenze Lai, Li Ran, Charles Lim, Anson Mak, Ellen Pau, Koki Tanaka, Wang Gongxin, Apichatpong Weerasethakul and Chai Siris,Wong Ping, Young-Hae Chang Heavy Industries, Yuan Goang-Ming, Zhang Peili and Zhu Jia.</div>\n<div><br /></div>\n<div><br /></div>\n<div><br /></div>",
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"title": "An evening with Masao Adachi ",
"header": "<div>7:00 pm</div>\n<div><font color=\"#ffa500\">A.K.A. Serial Killer</font></div>\n<div>Masao Adachi, 1969, 86 min</div>\n<div>https://0xdb.org/0239925</div>\n<div><br /></div>\n<div>9:00 pm</div>\n<div><font color=\"#ffa500\">The Anabasis of May and Fusako Shigenobu,</font></div>\n<div><font color=\"#ffa500\">Masao Adachi and 27 Years Without Images</font></div>\n<div>Eric Baudelaire, 2011, 66 min</div>\n<div>https://0xdb.org/2006160</div>\n<div><br /></div>\n<div>10:00 pm</div>\n<div><font color=\"#ffa500\">It May Be That Beauty Has Strengthened Our Resolve: Masao Adachi</font></div>\n<div>Philippe Grandrieux, 2011, 73 min</div>\n<div>https://0xdb.org/2007401</div>\n<div><br /></div>\n<div>CAMP rooftop:&nbsp;<a href=\"http://studio.camp/campstudio.html\">http://studio.camp/campstudio.html</a></div>",
"body": "<div>CAMP and Pirate Cinema Berlin invites you to a rooftop screening of three films directed, populated and inspired by Masao Adachi. An evening without Adachi, for certain: the 75-year old filmmaker cannot leave Japan, since he has spent years in jail for passport violations in connection with a series of airplane hijackings in the 1970s. Also an evening without most of his images: they were destroyed in Beirut in 1982. Adachi knows that he could have made more films, but as a heavy drinker, he also knows that it might have cost him his life. In 1971, Nagisa Oshima, Koji Wakamatsu, Yoshida Kiju and Masao Adachi, on their way back from the Cannes Film Festival, decide to make a stopover in Palestine. They get to Beirut, and Adachi will stay there for 27 years, as part of the Japanese Red Army faction of the PLFP, in hiding, in jail - the one-man film-making wing of the armed struggle, and the one man who meant it literally when he said: Guerrilla Cinema.</div>\n<div><br /></div>\n<div>Cinema without Adachi, mostly, until in 2011 Eric Baudelaire and Philippe Grandrieux make two astonishing and entirely unexpected films, not about, but rather with and through Adachi. Baudelaire strikes a pact: Adachi cannot return to Beirut, so he will lend him his eyes, trace the skyline and coast, account for images lost, shots never taken and stories left untold. What Adachi says about \"AKA Serial Killer\" -- in order to make a political documentary, no script is needed, just a camera to film the urban landscape, its transformation, the concrete shape of political power -- applies to Baudelaire's film as well. Beirut won't let him down: decades of struggle peel off the shelled-out buildings, entire continents of unseen cinema glisten in the sun by the Corniche, and Adachi's letters provide the distance in time and space across which the images do what images do best: set forth a motion, travel.</div>\n<div><br /></div>\n<div>Grandrieux -- infamous for his features \"Sombre\" (1998) and \"La vie nouvelle\" (2002), a cinema of dark intensity often mistaken for just another color within the 1990s French New Wave of extreme sex and violence -- in 2011 announces that he is going to make a series of political documentaries. His first one is a journey to Tokyo where he meets Adachi. Grandrieux won't stray far from his style: keep the camera on somebody's neck until your heart beats faster, point it at a tree in a light that will make your breath stop. Where Baudelaire's film stays half-wide, Grandrieux gets close, a series of bodies in the city, nightly highway rides and voices from the back seat. Adachi keeps narrating as he keeps walking and drinking, and when the film reaches its end, what opens up is an entire alternative future of political documentary: one in which the image is no longer an easily transportable form of truth, but a force that returns to and re-emerges from the material world of sensations.</div>",
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"header": "<div><font color=\"#ffa500\">Clark House Initiative, Mumbai</font></div>\n<div>March 29 to May 30 2015&nbsp;</div>\n<div><br /></div>\n<div>CAMP and Pad.ma present a series of works on, with and through the medium of TV.&nbsp;</div>",
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"title": "As If III & IV : Art Night Thursday ",
"header": "<div>As If - III Country of the Sea</div>\n<div>and&nbsp;</div>\n<div>As If - IV Night for day&nbsp;</div>\n<div><br /></div>\n<div>\n<div><font color=\"#ffa500\">Join us for a walkthrough, conversation and discussion around the two exhibitions with CAMP and Lawrence Liang.&nbsp;</font></div>\n<div>From 5.30 pm to 7 pm at Dr. Bhau Daji Lad Museum,&nbsp;</div>\n<div>and from 7.30 onwards at Chemould Prescott Road.&nbsp;</div>\n<div><br /></div></div>",
"body": "<div>The conversations will continue in the journey between the two spaces.&nbsp;</div>\n<div>Transport will be available with limited seating. &nbsp;</div>\n<div>RSVP: education@bdlmuseum.org&nbsp;</div>\n<div><br /></div>\n<div>\n<div style=\"color: rgb(34, 34, 34); font-family: arial, sans-serif; font-size: 12.8000001907349px; background-color: rgb(255, 255, 255);\"></div></div>",
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"title": "As If - III : After-hours walkthrough and screening ",
"header": "<font color=\"#ffa500\">As If - III Country of the Sea&nbsp;</font>\n<div>Dr. Bhau Daji Lad Museum<font color=\"#ffa500\"><br /></font>\n<div>6:00 pm to 8:30 pm&nbsp;</div>\n<div>Tuesday, March 17 2014&nbsp;</div>\n<div><br /></div>\n<div>Join us for a walk through, followed by screening of <font color=\"#ffa500\">From Gulf to Gulf to Gulf </font>and Q and A.&nbsp;</div></div>",
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"title": "As If All The Parts Were Slowly Changing",
"header": "<div>Presented by Mohile Parkih Center and Chemould Prescott Road&nbsp;</div>March 20, 2015&nbsp;\n<div>6:30 pm, Chemould Prescott Road</div>\n<div><br /></div>\n<div>\n<div>CAMP talks about the mutual development of ideas, collaborations and \"encounter strategies\" in <i><font color=\"#ffa500\">As If (I- V)</font>,</i> their series of ongoing exhibitions across Kolkata, Delhi and Mumbai. The talk is followed by a walk through of <font color=\"#ffa500\"><i>As If - IV &nbsp;Night for Day</i></font> at Chemould Prescott Road. <i><font color=\"#ffa500\">As If </font></i>is expanded upon as the title and framing device of these series of shows.&nbsp;</div></div>",
"body": "<div><br /></div>\n<div>\u00e2\u20ac\u0153In expressions like <a href=\"https://pad.ma/UN/player/AI\">Kelucharan as Radha</a>, <a href=\"http://www.medienkunstnetz.de/works/tv-as-a-fireplace/\">TV as a Fireplace</a> or <a href=\"http://en.wikiversity.org/wiki/Aspect_seeing\">Seeing it as a Rabbit</a>, we see the key role of the small word as. This as carries mimesis, metaphor, selection, or adaptation \u00e2\u20ac\u201c so many of the classic powers of art. &nbsp;As If is riskier, more tensile. It reaches for things that have receded from the senses, or that are 'so close, yet so far'. Or that can be thought of and said, but not easily done. As If suggests semblance, structures and desires stretched in both directions: more unlikely, more utopian, but also more concrete, more realised. As If builds a two-way bridge between imagination and intimacy.\u00e2\u20ac\u009d \u00e2\u20ac\u201c CAMP</div>\n<div><br /></div>",
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"title": "As If - III: View from the Boat (seminar)",
"header": "<div>27 and 28 March 2015</div>\n<div><br /></div>\n<div>Dr. Bhau Daji Lad Museum and CAMP invite you to a day-long seminar, <font color=\"#ffa500\">View from the Boat:</font> a diverse set of responses and discussions provoked by the geography and \"approach\" of CAMP's ongoing exhibition at the museum, <i><font color=\"#ffa500\">As If - III Country of the Sea.</font></i></div>\n<div>&nbsp;</div>\n<div>\n<div>The seminar will be preceded by an artists\u00e2\u20ac\u2122 introduction to the exhibition, starting at &nbsp;6:00 pm on the 27th evening.&nbsp;</div>\n<div>It will commence again on the 28th at 10:30 am and continue till 5:30 pm.</div></div>\n<div>Everyone is welcome to join an after-hours walk through of the exhibition on the 27th of March, starting at 6:00 pm.&nbsp;</div>",
"body": "<div>The Dr. Bhau Daji Lad Museum is delighted to invite you to an academic seminar \"View From The Boat\" inspired by the artist group CAMP's extensive maritime-world exhibition, titled As If III - Country of the Sea, ongoing at the Museum until April 7, 2015. Their six-year project on the Western Indian Ocean and around the Arabian/Persian Gulf includes the national premiere of their much-traveled film, 'From Gulf to Gulf to Gulf', in which Kutchi sailors and others take us from Kutch in western India to the ports of the Gulf and on to parts of Somalia and the Gulf of Aden, in a series of journeys at sea. The show suggests a range of counterpoints to the colonial \"view from the boat\u00e2\u20ac\u009d and also to the contemporary metaphors of \u00e2\u20ac\u0153liquidity\u00e2\u20ac\u009d and \"flow\" of smooth oceanic capital.</div>\n<div><br /></div>\n<div>Exhibition-making and cultural activity could be thought of as a form of relay or jujitsu, in which values and ideas can be transmitted, interrupted or used towards other ends. This seminar is similarly an invitation to participate in an exploration and transmission exercise. A contemporary reminder, especially for Mumbai, in which our proximities, debts to and fears of the seas can be thought of anew.</div>\n<div><br /></div>\n<div>The seminar will be preceded by an artists\u00e2\u20ac\u2122 introduction to the exhibition, starting at &nbsp;6:00 pm on the 27th evening. It will commence again on the 28th at 10:30 am and continue till 5:30 pm.</div>\n<div><br /></div>",
"schedule": "<div>Welcome address: Tasneem Zakaria Mehta</div>\n<div><br /></div>\n<div><i><b>Artists encounter Seafarers, Anthropologists and 30,000 bags of Charcoal&nbsp;</b></i></div>\n<div><br /></div>\n<div>11:00 &nbsp;Ashok Sukumaran and Shaina Anand (CAMP)</div>\n<div><br /></div>\n<div>11:30 Edward Simpson (SOAS)</div>\n<div><br /></div>\n<div><b><br /></b></div>\n<div><i><b>The Sea of Historians&nbsp;</b></i></div>\n<div><br /></div>\n<div>12:00 &nbsp;Lakshmi Subramanium (CSSS Kolkata)&nbsp;</div>\n<div><br /></div>\n<div>12:30 Renu Modi (Centre for African Studies, University of Mumbai)&nbsp;</div>\n<div><br /></div>\n<div><br /></div>\n<div>\n<div><i><b>Being Dharamsey Bhai in Kutch</b></i></div></div>\n<div><br /></div>\n<div>1:00 &nbsp;Virchand Dharamsey&nbsp;</div>\n<div><br /></div>\n<div>Lunch Break&nbsp;</div>\n<div><br /></div>\n<div>2:00&nbsp;</div>\n<div><b><br /></b></div>\n<div>\n<div><i><b>A response to the Exhibition from Bombay</b></i></div>\n<div><br /></div>\n<div>02:00 pm Nancy Adajania (independent curator, art critic)</div>\n<div><i><b><br /></b></i></div>\n<div><i><b>A response to the Exhibition in terms of its Making</b></i></div>\n<div><br /></div>\n<div>02:30 Jesal Kapadia (MIT)&nbsp;</div>\n<div>\n<div><i><br /></i></div>\n<div><i><br /></i></div>\n<div>03:15</div>\n<div><i>Discussion One:&nbsp;<b>Artistic Research and its Horizons</b></i></div>\n<div><br /></div>\n<div>Nancy Adajania</div>\n<div>Jesal Kapadia</div>\n<div>CAMP</div>\n<div><br /></div>\n<div>04: 15&nbsp;</div>\n<div><i>Discussion Two: <b>What Country are we in Anyway?</b></i></div>\n<div><br /></div>\n<div>Lakshmi Subramanium</div>\n<div>Edward Simpson</div>\n<div>Virchand Dharamsey</div>\n<div>CAMP</div></div>\n<div><br /></div>\n<div><br /></div></div>\n<div><br /></div>",
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"title": "As If - II : A Closing Opening",
"header": "<div><font color=\"#ffa500\">Closing event&nbsp;</font></div>\n<div><i><b>As If - II Flight of the Black Boxes</b></i></div>\n<div><br /></div>\n<div>Talk will be from 6:00 pm to 7:30pm</div>\n<div>On Tuesday 24th February&nbsp;</div>\n<div>at 24, Jorbagh<br />The exhibition will remain open till 8:30 pm</div>\n<div>\n<div><br /></div>\n<div>Do join us for a closing day talk with Ashok Sukumaran of CAMP, and Aastha Chauhan, Shaunak Sen and Srinivas Aditya Mopidevi who will offer responses and questions to parts of the exhibition.&nbsp;</div></div>",
"body": "<div>Ashok will also describe and show images from CAMP's ongoing&nbsp;<i><font color=\"#ffa500\">As If&nbsp;</font></i>exhibition series, a diverse landscape and topography of artistic moves. The third part of&nbsp;<i>As If</i>, titled&nbsp;<font color=\"#ffa500\">\"Country of the Sea\"</font>&nbsp;opened at the Dr. Bhau Daji Lad Museum in Mumbai two days ago. This talk gives a moment to reflect upon, recognise, squeeze or test some of the things that are at stake in these exhibitions.&nbsp;</div>\n<div><br /></div>\n<div>\n<div>About Flight of the Black Boxes:</div>\n<div>Born in experimentation and uncertainty, black boxes of machines and institutions surround us with seemingly smooth and impenetrable functions. But reintroduce the uncertainty, reopen the conflicts, and the box appears stable in neither form nor function. Twelve works by CAMP look out through the unstable interior worlds of cameras, memory devices, surveillance systems, electricity and more, developing feelings and strategies alongside them.&nbsp;</div></div>\n<div><br /></div>",
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"title": "As If - IV & As If - tV : Landscape Virtual",
"header": "<div><span style=\"color: rgb(255, 165, 0);\">Art Night Thursday</span></div>9th April, 2015&nbsp;\n<div><br /></div>\n<div>\n<div>\n<div><br /></div>\n<div><font color=\"#ffa500\">Chemould Prescott Road </font>and <font color=\"#ffa500\">Clark House Initiative</font>&nbsp;invite you to a discussion of two CAMP shows in the company of the artists.&nbsp;</div>\n<div><font color=\"#ffa500\"><br /></font></div>\n<div>7:30 - 8:30 pm <font color=\"#ffa500\">&nbsp;</font>Chemould Prescott Road&nbsp;</div>\n<div><i><b><font color=\"#ffa500\">As If - IV Night for Day&nbsp;</font></b></i></div>\n<div><font color=\"#ffa500\"><br /></font></div>\n<div>8:30 - 10:00 pm &nbsp;Clark House Initiative</div>\n<div><i><b><font color=\"#ffa500\">As If - tV</font></b></i></div></div>\n<div><br /></div>\n<div>\n<div>A two-part discussion, framed by concepts of the \"virtual\" and that of the \"landscape\".&nbsp;</div>\n<div><i>Virtual:</i> that which is not currently existing, an unrecognised plane or facet; out of time, an unseen capacity. But one that is clearly evoked and asked to function in these exhibitions. <i>&nbsp;Landscape:</i> &nbsp;that whose old walls and hierarchies must be cut across, but also which offers material resistance, and layers, which have to be navigated.&nbsp;</div>\n<div style=\"font-weight: bold; font-style: italic;\"><br /></div></div></div>",
"body": "<div>The prefix <i><b>As If </b></i>&nbsp;in the exhibition titles carries the freedom of association of \"as\" and the \"what if\" of concrete and often utopian imaginations. But how to map the responses of artists against the massive mediafication, televisation, networking, and infrastructuring of our social landscape? How has the virtual itself evolved, and is it still useful as a concept? Taking the past century as a frame, this discussion walks us through camera obscuras, street decorations, television, CCTV, and proliferations of networked media from electricity onwards. All of which create their own gaps of sensing and participation, or what Lefebvre called \"blind fields\". In yet other words, these are the more \"virtual\" aspects of the past century of cinema.&nbsp;</div>\n<div><br /></div>\n<div>The first CAMP exhibition in this series was called<i><b> Rock, Paper, Scissors</b></i>. It suggested that subjects, technology and authors could be thought of as equally powerful, equally fragile, and could also exchange places. Once we adopt this contemporary play of forces, how do they modify the landscape? Discursively, psychologically, symbolically, physically or otherwise? The discussion tries to address this question.&nbsp;</div>\n<div><br /></div>\n<div><b><br /></b></div>\n<div><b><i>CAMP&nbsp;</i></b></div>\n<div><b><i>As If - IV Night for Day&nbsp;</i></b></div>\n<div>Chemould Prescott Road&nbsp;</div>\n<div>Ongoing till April 30 2015&nbsp;</div>\n<div><br /></div>\n<div>Choreographed together, electric, sonic, filmic and other uncategorisable works from 2002 to 2014 that took place in the nighttime worlds of Bombay, Delhi, Bangalore, Sharjah, Dakar, Kabul, Mexico and other cities.&nbsp;</div>\n<div><br /></div>\n<div>'Day for Night' in film is when scenes shown as night are actually shot in the day. The reverse idea promotes night as the imaginative, cinematic and subterranean aspect that undergrids daytime. And that troubles the \u00e2\u20ac\u02dceveryday\u00e2\u20ac\u2122 by distributing its energies differently.</div>\n<div><br /></div>\n<div><b><i><br /></i></b></div>\n<div><b><i>CAMP and Pad.ma&nbsp;</i></b></div>\n<div><b><i>As If - tV</i></b></div>\n<div>Clark House Initiative&nbsp;</div>\n<div>Ongoing till May 20 2015&nbsp;</div>\n<div>A collection of early projects with and through the medium of television. &nbsp;Also includes a special channel of Pad.ma TV, 24 hours of streamed programming from the online Pad.ma archive.&nbsp;</div>\n<div><br /></div>",
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"shortname": "ICMAMI",
"title": "INDIANCINE.MA at MAMI ",
"header": "November 2, 2015<br />11:00 am PVR Cinemas 3, Juhu<br /><br /><br />In 2013, as a gift to our cinema centenary <a href=\"http://indiancine.ma\">indiancine.ma,</a> an online platform and community initiative dedicated to Indian cinema history was born. The websites unique features include time-based annotations and unprecedented ways of searching across the moving image through texts, cuts, colour, camera movements, documents and maps. <br /><br />Join film historians Sidharth Bhatia, Ranjani Mazumdar, Gayatri Chatterjee and Ashish Rajadhyaksha, archivist P.K. Nair, and filmmakers Anand Gandhi, Kiran Rao and CAMP as they offer a glimpse into how they use this digital film archive. <br /><br />",
"body": "Together they will take us through a sometimes dizzying panoramic arc from the era of black-and-white to the independent cinemas of the present: from the romances of the Bombay Talkies and smoky nightclubs of noir movies of the 1950s to the realism of the independents of this century. <br /><br />Ashish Rajadhyaksha introduces the structure of the archive and excavates material of <i>Bombay Talkies</i> films to show how new digital research can happen.<br /><br />Sidharth Bhatia produces an online edit along with his annotations of classic nightclub songs in 1950s Hindi melodrama. <br /><br />Gayatri Chatterjee looks deep into <i>Jogan </i>(1950) by Kidar Sharma and <i>Pakeezah</i> (1972) by Kamal Amrohi to find special narrative and visual strategies present in the works of few Indian filmmakers. <br /><br />Ranjani Mazumdar, on the occasion of the release of her annotated version of Anuraag Kashyaps unreleased debut film <i>Paanch</i> (2001), speaks of the expanded archives of the cinema. <br /><br />Anand Gandhi and Recyclewala Labs exploit the many features of http://indiancine.ma with an exhaustive <i>Ship of Theseus </i>(2013) reader including much more than the directors commentary. <br /><br />Collaborative studio CAMP present the ethos behind <a href=\"http://indiancine.ma\">Indiancine.ma</a> sister archive <a href=\"http://pad.ma\">Pad.ma </a>(Public Access Digital Media Archive) and provoke ways of using archives as sites for production. <br /><br />Kiran Rao and P.K. Nair respond. <br /><br />Followed by a discussion with the speakers and audience Q and A.&nbsp; <br /><br />__<br /><br />Sidharth Bhatia, journalist (The Wire), is also author of <i>India Psychedelic, The Story of a Rocking Generation </i>(2013) and <i>Cinema Modern: The Navketan Story </i>(2012).<br /><br />Gayatri Chatterjee, author of book-length works on <i>Awara</i> (1992/2003) and <i>Mother India</i> (2002), is a Pune based film scholar who has taught at the Film Appreciation Course, NFAI/FTII since 1987 and been faculty at FTII (2006-2010) and Symbiosis School of Liberal Arts (2010-present).<br /><br />Ranjani Mazumdar, author of <i>Bombay Cinema: An Archive of the City </i>(2007) is Professor, Cinema Studies, at the School of Arts &amp; Aesthetics, Jawaharlal Nehru University, New Delhi.<br /><br />Ashish Rajadhyaksha is co-editor of the <i>Encyclopaedia of Indian Cinema</i> (2001) and author of <i>Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency </i>(2009).<br /><br />Anand Gandhi is a filmmaker and writer deeply interested in philosophy, evolutionary psychology, innovation and transhumanism. Director of the multi-award winning<i> Ship of Theseus</i> (2013) and co-founder of Recyclewala Labs, and now Memesys Lab. <br /><br />CAMP is a collaborative studio based in Bombay set up by artists Ashok Sukumaran and Shaina Anand in 2007 that combines film, video, installation, software, open-access archives and public programming with broad interests in technology, film and theory. Home to <a href=\"http://pad.ma\">Pad.ma </a>and <a href=\"http://indiancine.ma\">Indiancine.ma</a>. <br /><br />P.K. Nair is the founder and former Director of the National Film Archive of India, Pune, and Indias best known film archivist. <br /><br />Kiran Rao is a screenwriter and director of <i>Dhobhi Ghaat</i> (2011), and a film producer deeply committed to promoting independent cinema and living screen cultures. <br /><br />Know more about<a href=\"http://Indiancine.ma/about\"> Indiancine.ma</a><br /><br /><br />",
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"title": "Cinema At the time of More cameras than People ",
"header": "at MAMI <br /><font color=\"orange\">31st October, 2015 </font><br />2 pm PVR Phoenix Cinema - Screen 1, <br /><font color=\"orange\">Lower Parel, Mumbai</font><br /><br />A talk and screening of video works by CAMP. We have systematically rebuilt relationships between subjects, authors and technology in video; between the eye, the lens and the audience; between footage, edits and finished work and pushed film form in ways that do not take these many component parts of film for granted. Our interests lie in both the production and distribution of images, and how these two things may be connected. In discussion with Nancy Adajania. <br />",
"body": "The session is part of a two-day programme of screenings, presentations \nand discussions on the ideas surrounding experimentation with film \nlanguage and form, at the MAMI Mumbai Film Festival put together by \nAvijit Mukul Kishore and Rohan Shivkumar. <br /><br />SCHEDULE:<br /><br />DAY 1<br />OCTOBER 30<br /><br />Session 1: 10:00 am<br />FILM AS ART: AN INTRODUCTION<br />Lecture and screening session presented by Shai Heredia<br /><br />The first level of connection with the film medium is immediate and sensory. Through a process of viewing and discussion this session will explore the aesthetics of avant-garde/ experimental films, both Indian and international. By forging intricate connections with other art forms, particularly painting, poetry, photography and music, the medium will be deconstructed to recognize layers of form and content.<br /><br />This session will be presented by Shai Heredia, film maker and the founding director of the \u00e2\u20ac\u02dcExperimenta\u00e2\u20ac\u2122 \u00e2\u20ac\u201c an artist-run platform that encourages experimentation with the moving-image in India.<br /><br />Session 2: 2:00 pm<br />IMAGE AS MUSIC<br />\u00e2\u20ac\u02dcDhrupad\u00e2\u20ac\u2122 by Mani Kaul, Films Division India<br />Hindi with EST, Colour, 1983, 70 min<br /><br />Dhrupad is the oldest surviving form of Hindustani Classical music and the Dagars, who have been singing for twenty generations, are responsible more than any one else for keeping it alive. Times have changed but the Dagars have tenaciously strived to maintain the pristine art form. This film is a slow meditative journey that fuses the depth and quiet of the traditional with the hurly-burly of the modern. The conflict between the soulfulness of the gurukul as envisaged and practiced by the Dagars and the philistinism of city life is more left to the imagination than spelt out here. The film's mood ranges from the occasionally playful to the largely pure and profound.<br /><br />Session 3: 4:00 pm<br />PROPAGANDA / ANTI-PROPAGANDA<br />The documentary films of S.N.S. Sastry, Films Division India<br /><br />Films Division, Government of India, is the second largest state-run documentary-producing organisation in the world, the largest ones being its equivalent in the former Soviet Union. It was formed in 1948, with the mandate of recording the visual history of the newly formed nation, using the medium of documentary film. The language and form of these films makes an interesting study, as do the distinct departures from the established norms of documentary film making within them. These departures are almost always expressed through formal innovation; irony and humour, creating films that could be disturbing and delightful at the same time.<br /><br />This session features and analyses the landmark short films of SNS Sastry, one of Films Division\u00e2\u20ac\u2122s most illustrious film makers. The films are \u00e2\u20ac\u02dcAnd I Make Short Films\u00e2\u20ac\u2122 (1968), \u00e2\u20ac\u02dcKeep Going / Lage Raho\u00e2\u20ac\u2122 (1971), \u00e2\u20ac\u02dcThis Bit of That India\u00e2\u20ac\u2122 (1972), \u00e2\u20ac\u02dcOur Indira\u00e2\u20ac\u2122 (1974) and 'Amir Khan' (1970).<br /><br />Session 4: 7:30 pm<br />NARRATIVE GAMES<br />\u00e2\u20ac\u02dcUrf Professor\u00e2\u20ac\u2122 by Pankaj Advani<br />Hindi with EST, Colour, 2001, 120 min<br /><br />Chaos follows after a hit-man's car and winning lottery ticket go missing. Hudda is a Mumbai-based gangster who undertakes to kill people with the help of a man simply known as the Professor, who is in the habit of buying lottery tickets. Both the Professor and Hudda will find their lives changing when the nephew of a gangster gets killed, and they must find an undertaker who is able to put his mutilated face together. This is a dark comedy that keeps playing with the viewers\u00e2\u20ac\u2122 expectations of the plot and it\u00e2\u20ac\u2122s characters\u00e2\u20ac\u2122 behaviour.<br /><br />The film will be presented by film maker Kamal Swaroop.<br /><br /><br />DAY 2<br />OCTOBER 31<br /><br />Session 1: 10:00 am<br />THE INDIAN NEW WAVE AND IT\u00e2\u20ac\u2122S LEGACY<br />Lecture and screening session presented by Ashish Rajadhyaksha<br /><br />It is often said that what distinguishes the independent sector of the New Cinemas from the better known middle-cinema is its experimentation with the celluloid form. The experiments were with lensing, with lighting, with sound, with film stock and lab processing, as much as they were with acting and scripting. While the best known of the celluloid experiments were those of Mani Kaul, they also included films by Kumar Shahani, Avtar Kaul, Satyadev Dubey, Mrinal Sen and Girish Kasaravalli.<br /><br />This presentation is a walkthrough of the formal experiments of the new cinemas of the 1970s. Presented by film scholar Ashish Rajadhyaksha, author of 'Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency' (2009) and co-editor of the 'Encyclopaedia of Indian Cinema' (1999-2001). Ashish has recently edited and introduced the writings of Kumar Shahani, titled 'The Shock of Desire and Other Essays' (2015).<br /><br />SCREENING: 11:45 am<br />\u00e2\u20ac\u02dcAadmi Ki Aurat aur Anya Kahaniyan\u00e2\u20ac\u2122 by Amit Dutta<br />Hindi with EST, Colour, 78 min, 2009<br /><br />Amit Dutta\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Aadmi ki Aurat aur Anya Kahaniyan\u00e2\u20ac\u009d is a film based on stories by Vinod Kumar Shukla and Sadat Hasan Manto. The film attempts to explore the relationship between forms of storytelling in literature and in cinema.<br /><br />There are three stories presented in the film- \u00e2\u20ac\u02dcPed Par Kamra (Room on a tree), \u00e2\u20ac\u02dcAadmi Ki Aurat\u00e2\u20ac\u2122 (Man\u00e2\u20ac\u2122s Woman) and Sau Kendal ka Bulb (100 watt Bulb) each a tale concerning paranoia, displacement and alienation, a probing into the complex nature of relationship between a man and a woman, and of the internal world of lonely men in relation to their environment.<br /><br />Amit Dutta, a graduate of FTII specialized in direction is known for his distinctive style of filmmaking rooted in Indian aesthetic theories and personal symbolism resulting in images that are visually rich and acoustically stimulating.<br /><br />Session 2: 2:00 pm<br />THE EXPANDED FIELD OF CINEMA<br />Cinema At the time of More cameras than People<br /><br />Culture theorist Nancy Adajania will be in discussion with with Shaina Anand and Ashok Sukumaran of CAMP, an art collective that has many full forms for the acronym including 'Cinema At the time of More cameras than People'. This session looks at the unique ways in which film and moving image practice move beyond the boundaries of the cinema theatre into the art gallery, the internet and other public spaces; how people work with found footage and videos that may comprise sting material. For over a decade, CAMP's work has rebuilt relationships between subjects, authors and technology in video; between the eye, the lens and the audience; between footage, edits and finished works.<br /><br />Session 3: 4:00 pm<br />OF MEMORY: COPIES WITHOUT AN ORIGINAL<br />\u00e2\u20ac\u02dcThe Forbidden Room\u00e2\u20ac\u2122 by Guy Maddin<br />English, Colour, 130 min, 2015<br /><br />A submarine crew, a feared pack of forest bandits, a famous surgeon, and a battalion of child soldiers all get more than they bargained for as they wind their way toward progressive ideas on life and love.<br /><br />Guy Maddin is an installation artist, screenwriter, cinematographer and filmmaker who has made ten feature-length movies and innumerable shorts. He has also mounted across the USA, UK, France, Germany, Australia, Peru, Mexico and Argentina numerous live performance versions of his films featuring live music, sound effects, singing and narration.<br /><br />Session 4: 6:30 pm<br />THE IDEA OF A QUEER AESTHETIC<br />Panel discussion<br /><br />While this is a subject of tremendous discourse internationally, discussions on the idea of a queer aesthetic are fairly nacsent in the Indian context. We are yet to start a serious study of queer art from the perspective of form, aesthetics and the politics inherent to the subject. Is queer art inherently related and limited to sexual orientation? And is there a difference between queer and camp? This panel discussion brings together a visual artist, a theatre-person and an ethno-musicologist - all of whom work on film, to discuss what queer art means to them.<br /><br />Panelists: Natasha Mendonsa (visual artist), Vikram Phukan (theatre-person an writer) and Jeff Roy (ethno-musicologist). Moderator: Avijit Mukul Kishore<br /><br />Screening: 7:30 pm<br />\u00e2\u20ac\u02dcBlue\u00e2\u20ac\u2122 by Derek Jarman<br />English, Colour, 80 min, 1993<br /><br />Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue. 'Blue' is the twelfth and final feature film by director Derek Jarman, released four months before his death from AIDS-related complications. Such complications had already rendered him partially blind at the time of the film's release. The film was his last testament as a film-maker, and consists of a single shot of saturated blue colour filling the screen, as background to a soundtrack where Jarman's and some of his favourite actors' narration describes his life and vision.<br /><br />This is the first screening of 'Blue' in India.<br /><br />This programme is curated by Avijit Mukul Kishore and Rohan Shivkumar. Avijit is a film maker and cinematographer whose work includes documentary and feature films, visual art, teaching and curating. Rohan Shivkumar is an architect and urban studies scholar, Deputy Director of Kamla Raheja Vidyanidhi Institute of Architecture, who has worked on film-based research projects, curation and is the co-editor of the book 'Project Cinema City'.<br /><br />",
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"shortname": "corruption",
"title": "At e-flux NYC",
"header": "<font color=\"orange\">Opening November 10, 6pm </font><br />With a reading of the screenplay<br />Act I:<font color=\"orange\"> </font><i><font color=\"orange\">Swearing-in Whispers</font> </i>followed by a screening of <br />Act-II: <font color=\"orange\"><i>Hum Logos </i></font><br /><br /><i>Corruption: Everybody Knows</i> curated by Natasha Ginwala, continues through December 19, 2015&nbsp; at E-flux, NY<br />",
"body": "CAMP: The Radia Tap(e)s <br />in Two Acts <br /><br />Act I (Swearing-in Whispers) is a screenplay in Courier 12pt melodramatic format, spanning the first three days of lobbying for cabinet spots, in the wake of the Indian general elections of 2009. The dialogue is entirely from phone taps made by the government. The screenplay slows them down and asks: what kinds of environments and scenes may lie behind them, and how are they connected?<br /><br />Act II (Hum Logos) is a 45-minute audio film following on from where the screenplay ends, taking us into the next two months, with the new cabinet in power. The film asks: if debate around these tapes was about whether they are edited or not, or as Justice Mukhopadhay put it, \"splice has been added\", then what can further editing do?<br /><br />",
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"title": "Scanning Workshop",
"header": "<div><span style=\"color: rgb(255, 165, 0);\">July 2nd and 3rd, 2016.&nbsp;</span></div>\n<div>A workshop on practical scanning and managing collections, with a group of local and international experts and enthusiasts on the subject.&nbsp;\n<div></div></div>",
"body": "<br />\nJuly 2nd, 11am\nScanning workshop. Practical scanning of books, photos and documents.&nbsp;\n<div>Including scanning workflow, and building a new scanner after the prototype at CAMP made with the support of Tomislav Medak and Marcell Mars (<a href=\"https://monoskop.org/Monoskop\">https://monoskop.org/</a>) and <a href=\"https://www.memoryoftheworld.org/blog/cat/tools/\">https://www.memoryoftheworld.org/blog/cat/tools/</a></div>\n<div><br /></div>\n<div>Evening discussion on what we need locally, on the scanning front.\n<div>\n<div><br />\n\nJuly 3rd, 11am\nManaging collections. With Jan Gerber and Sebastian Lutgert from Open Media Library, Sean Dockray from Aaaaarg, Memory of the World, and other platforms.&nbsp;</div>\n<div><br /></div>\n<div>Closing discussion on what we need on the collections front.&nbsp;</div>\n<div><br />\nPlease let us know if you are interested, lunch will be served both days. The host group is about 15 people, we are inviting about 10 guests. \n\n</div></div></div>",
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"title": "Men-at-Work with Boxes in Stereo",
"header": "<div>\n<div><font color=\"#ffa500\">13 December 2015 \u00e2\u20ac\u201c 31 January 2016</font></div>\n<div>Times Museum, Guangzhou</div></div>\n<div><br /></div>\n<div>20 mins, HD. &nbsp;2 - channel installation</div>\n<div>Cantonese, Mandarin</div>\n<div>\n<div>Filmed in Guangzhou at the Zhuhai International Container Terminal</div></div>\n<div><br /></div>",
"body": "<div>Also showing:&nbsp;</div>\n<div>Destuffing Matrix, 2012</div>\n<div>8 mins HD</div>\n<div>(single channel composite of 12 channel installation)</div>\n<div><br /></div>\n<div>Workshop on January 15, 2016 with footage in Pad.ma&nbsp;</div>\n<div>10pm to 6pm&nbsp;</div>\n<div>Times Museum&nbsp;</div>\n<div><a href=\"https://pad.ma/grid/title/source==CAMP&amp;project==Men_at_Work_with_Boxes\">https://pad.ma/grid/title/source==CAMP&amp;project==Men_at_Work_with_Boxes</a></div>",
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"title": "Mosiac Rooms",
"header": "<div><font color=\"#ffa500\">From Gulf to Gulf to Gulf&nbsp;</font></div>with an introduction by Edward Simpson, curated by Nada Raza\n<div>\n<div><br /></div>\n<div>at <font color=\"#ffa500\">Mosaic Rooms, London</font></div>\n<div>14th April, 2016 7:00 pm</div></div>",
"body": "<div><a href=\"http://mosaicrooms.org/event/film-screening-from-gulf-to-gulf-to-gulf/\"><br /></a></div>\n<div><a href=\"http://mosaicrooms.org/event/film-screening-from-gulf-to-gulf-to-gulf/\">http://mosaicrooms.org/event/film-screening-from-gulf-to-gulf-to-gulf/</a></div>",
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"title": "Yerba Buena Center for the Arts",
"header": "<div>From Gulf to Gulf to Gulf&nbsp;</div>at&nbsp;\n<div><font color=\"#ffa500\">The Ocean After Nature&nbsp;</font></div>\n<div>YBCA, San Francisco&nbsp;</div>\n<div>curated by Alaina Claire Feldman</div>\n<div><br /></div>\n<div>Screening dates:&nbsp;</div>\n<div><font color=\"#ffa500\">July 5, August 20 2016 &nbsp;</font></div>",
"body": "<a href=\"https://www.ybca.org/whats-on/film-program\">https://www.ybca.org/whats-on/film-program</a>",
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"header": "<div><font color=\"#ffa500\">Transactions&nbsp;</font></div>\n<div>Manifesta Parallel exhibition</div>\n<div>June 10 to July 13 2016</div>\n<div>University of Zurich</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">Country of the Sea </font>&nbsp;(2015)</div>\n<div>CAMP in collaboration with Shunya Collective</div>\n<div>single exposure cyanotype</div>\n<div>17 feet x 5 feet&nbsp;</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">Hold </font>(2016)</div>\n<div>Plimsoll line, Printer, Paper, Manifests&nbsp;</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">From Gulf to Gulf to Gulf</font> (2013)</div>\n<div>HD, HDV, SDV, VHS, Cell-phone (variable) 83 mins&nbsp;</div>",
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"title": "Pad.ma at the Reina Sofia",
"header": "<div><font color=\"#ffa500\">The Archives of the Commons</font></div>\n<div>Seminar</div>\n<div>Reina Sofia, Madrid&nbsp;</div>\n<div><font color=\"#ffa500\">December 11, 12 2015&nbsp;</font></div>",
"body": "<div><a href=\"http://www.museoreinasofia.es/en/activities/common-archives\">http://www.museoreinasofia.es/en/activities/common-archives</a></div>\n<div><br /></div>",
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"header": "<font color=\"#ffa500\">Opens 20th March 2016&nbsp;</font>\n<div><font color=\"#ffa500\"><br /></font>\n<div>Blue Door</div>\n<div>Behind 21-B, Sindhu Housing Society<br />Lallubhai Compound</div>\n<div>Mankhurd&nbsp;</div>\n<div>\n<div><br /></div>\n<div><font color=\"#ffa500\">R and R </font>is a new centre for artistic and intellectual activity located amid the <i>\"Resettlement and Rehabilitation\"</i> colonies of Lallubhai Compound.</div>\n<div><br /></div></div>\n<div>For events and updates,<a href=\"http://aarandaar.net\"> aarandaar.net</a></div>\n<div><br /></div>\n<div>\n<div>A project by CAMP, Khanabadosh, Rupali Gupte and Prasad Shetty.&nbsp;</div></div></div>",
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"shortname": "extension",
"title": "Limits Extension Anniversary ",
"header": "Saturday, April 16, 2016\n<div>5:00pm onwards</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">R &amp; R&nbsp;</font></div>\n<div>Lallubhai Compound&nbsp;</div>\n<div><br /></div>\n<div>With contributions by: Simpreet Singh, Nisha Kundar, Ashok Sukumaran, Hussain Indorewala, Vidyadhar Date, and others.&nbsp;</div>",
"body": "<p><font face=\"courier new, courier, monospace\"><span style=\"font-size: 14px;\">On 15th April 1950 the Bombay Municipal (Extension of Limits) Act was brought in force which extended the boundary of Bombay Island city to include areas upto Jogeshwari and Bhandup. These areas earlier constituted Bombay Suburbs and were governed by Borough Municipalities, Notified Area Committees and Village Panchayats which were dissolved and brought under the Municipal Corporation of Bombay. In a dissenting opinion against this Act, Chunilal Barfivala wrote that it was a \"wholesale annexation of vast area, abolition of suburban civic units and ruthless sacrifice of the corporate life of the annexed communities\" and was designed to \"remove all undesirable things to the outskirts of the city\", among which is mentioned: manufacturing candles, casting metals, making cow dung cakes, soap making, tar melting, cattle stables, slaughter houses, blood boiling, bone crushing...</span></font></p>\n<p><font face=\"courier new, courier, monospace\"><span style=\"font-size: 14px;\">These debates, and the reasons given for the limit extension: de-congestion of Bombay, better administration, extending of civic services to Suburbs in exchange for city taxes, and control of crime -- still resonate in present times.</span></font></p>\n<p><font face=\"courier new, courier, monospace\"><span style=\"font-size: 14px;\">For this occasion, an open discussion and mini-exhibition of maps and documents is being held at R and R, to revisit: the city from the perspective of the suburbs of various kinds; Tadipaar- &nbsp;discourse of crime in spatial expansion; maps pre and post limit extension; the splitting into two of Majas Village, the contemporary example of villages of Vasai-Virar which recently resisted a similar extension; and other shared observations with an aim of exploring limits of extension and extension of limits.</span></font></p>\n<div><br /></div>",
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"title": "Archive Building",
"header": "<div><font color=\"#ffa500\">Floods, Fungus, Friendship and Fibre</font></div>\r\n<div><br /></div>\r\n<div>Tuesday July 5th, 6:00 pm to 7:30 pm</div>\r\n<div>at&nbsp;<a href=\"http://aaraandaar.net/#limits\">R and R</a></div>\r\n<div>Lallubhai Compound</div>\r\n<div>Mankhurd, Mumbai</div>\r\n<div><br /></div>\r\n<div>With Aaaaarg, Memory of the World, Open Media Library, Custodians Online solidarity, and others.</div>",
"body": "<div>We are delighted to announce a public event with the creators, supporters and librarians of numerous international text archive platforms who are visiting our city. These include&nbsp;<a href=\"http://aaaaarg.fail/\">Aaaaarg</a>,&nbsp;<a href=\"http://library.memoryoftheworld.org/#property=authors\">Memory of the World</a>&nbsp;and <a href=\"http://www.openmedialibrary.com/#about\">Open Media Library </a>and several individuals who are part of <a href=\"http://www.openmedialibrary.com/#about\">Custodians Online </a>solidarity, among others.&nbsp;</div>\r\n<div><br /></div>\r\n<div>Bod\u00c3\u00b3 Bal\u00c3\u00a1zs and Lawrence Liang will open the event with a comparative account of the infrastructures and motivations of such 21st century archival initiatives. This is also in the context of a collective effort that would be needed to scan, share and build online repositories so much needed in our own city.</div>\r\n<div><br /></div>\r\n<div>Do join us!</div>\r\n<div><br /></div>\r\n<div>This is the concluding event of Architectures of Knowledge, a meeting organised in collaboration by&nbsp;<a href=\"http://xpmethod.plaintext.in/\">Columbias Group for Experimental Methods in the Humanities</a>;&nbsp;a two-day workshop on book scanning and managing collections that took place at CAMP and a two-day meeting at TISS. &nbsp;</div>\r\n<div><br /></div>",
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"shortname": "TNM",
"title": "THE NEW MEDIUM",
"header": "A chronological viewing of 14 films beginning with Vertovs <font color=\"#ffa500\"><b><i>Man with the Movie Camera</i></b>,</font> and concluding with Farockis <i><b style=\"color: rgb(255, 165, 0);\">Parallel I-IV</b>;&nbsp;</i>&nbsp;<i>The New Medium&nbsp;</i>presents innovations in Cinema.&nbsp;\n<div><br /></div>\n<div>At the 18th MAMI Film Festival</div>\n<div><font color=\"#ffa500\">20th October to 27th October 2016&nbsp;</font></div>\n<div>Mumbai</div>\n<div><br /></div>\n<div>When the moving image came into being it was seen as the seventh art, an alchemical medium with the potential to transform the spatial arts: architecture, sculpture and painting, and the temporal arts: music, poetry and dance.&nbsp;</div>",
"body": "<div>The philosopher Alain Badiou in his recent volume on cinema calls it the most impure art form; the place where impossible movements within and across the arts can happen. And in whose short life, no more than a century and quarter old, we have felt as an audience the double effects of anonymous escapes into the dark room, as well as unforgettable shared experiences.</div>\n<div><br /></div>\n<div><i>The New Medium</i> will scour cinema\u00e2\u20ac\u2122s living history and take us through space and time to experience first-hand some of its more inventive moments, as a medium of expression and exchange. Where better to begin, than the audacious <b><i>Man with the Movie Camera</i></b>, (1929). \"This experimental work aims at creating a truly international language of cinema based on its actual separation from the language of theatre and literature\", says the opening title of <b>Dziga Vertovs</b> Kino Eye&nbsp;classic. We bring it to you fresh as ever, newly restored and accompanied with live music from Ukraine by the <b>Vitaliy Tkachuk Quartet</b>.</div>\n<div><br /></div>\n<div>There is a meta-narrative in the fantastical <i><b>Kalpana</b></i> (Imagination, 1948), made for a newly formed post-colonial nation anticipating a cultural renaissance. Adapting classical dance for the cinema, <b>Uday Shankar </b>creates a parable in the form of a proposal - to make a film about his vision for patronage, pedagogy and creative experimentation in the arts. Now legally out of copyright and belonging in the public domain, <b><i>Kalpana\u00e2\u20ac\u2122s </i></b>quest for freedom and generous patronage continue to date, and we do our bit by presenting it in fully restored splendour.</div>\n<div><br /></div>\n<div>Preceding the music video genre by twenty years, and formally influencing the<i> Third Cinema </i>Movement, Santiago Alvarez\u00e2\u20ac\u2122s<b><i> Now!</i></b> (1965), made mostly with still photographs, is a visceral and haunting document of racism and police brutality in the United States, its call to action more relevant now! than ever before. <i>Third Cinema</i> was also an influence on French cineastes; and when Chris Marker formed <b>SLON (</b>Society for the Launching of New Oeuvres) and brought together cinema greats<b> Joris Ivens, William Klein, Claude Lelouch, Agn\u00c3\u00a8s Varda, Alain Resnais and Jean-Luc Godard</b> to collectively author <b><i>Far from Vietnam</i></b> (1967), they affirmed \"by the exercise of their craft, their solidarity with the Vietnamese people in struggle against aggression\". We present the restored version of this important political film.</div>\n<div><br /></div>\n<div>In 1969 the Catalan filmmaker <b>Pere Portabela </b>becomes himself a parasite on the shooting of the Technicolour Count Dracula starring Christopher Lee, and films a silent, behind-the-scenes film in contrasty black and white. <b><i>Vampir Cuadecuc </i></b>(1970), a relatively unknown cult work is now restored, and presents at once a psychological immersion on the making of films, and an allegorical spin on the dictatorship of Franco. <b><i>Space is the Place </i></b>(1974) starring the jazz legend<b> Sun Ra and his Intergalactic Arkestra</b> is an Afro-Futurist Blaxploitation Science Fiction containing interplanetary travels, biting social commentary, and literally out of this world concert performances. Circulating for years on VHS bootlegs, it was digitally re-released to commemorate the film\u00e2\u20ac\u2122s 40th anniversary in 2014.</div>\n<div><br /></div>\n<div><b>Lis Rhodes</b> set up the feminist distribution and filmmaking collective<i> Circles </i>around the same time she made <b><i>Light Music </i></b>(1975), a work of expanded cinema where the images she draws on the optical soundtrack become the visuals of the film. She was intervening with her film form into the world of male-dominated music composers. Viewers become performers in this classic 16 mm dual projection of light, sound and fog.</div>\n<div><br /></div>\n<div>Two films set in Brahmin-dominated villages and filmed around the same time, approach the medium in startlingly unique ways and become urgent cogitations on caste. In <b><i>Chhatrabhang</i></b> (The Divine Plan -1975), <b>Nina Shivdasani Rovshen </b>reenacts the scenario leading up to a real-life incident in rural Maharashtra over the use of a village well by neo-buddhists, but films it with people of Jogia in Eastern Uttar Pradesh, mixing in documentary, voice-over and the poetry of a mill worker. <b>John Abraham\u00e2\u20ac\u2122s </b>second feature <i><b>Agraharathil Kazuthai</b></i> (Donkey in a Brahmin Village- 1976) takes on caste and bigotry by turning an anthropological gaze onto Brahmin rituals into a surrealistic and tragic-comic fable that features the donkey as the lead character.</div>\n<div><br /></div>\n<div>The Russian novel has influenced greatly, two of the most avant-garde auteurs from our side of the world. <b>Mani Kaul </b>adapts Dostoevskys <i>Idiot </i>into a mini-series and an experiment for television starring Shahrukh Khan and over 50 other actors. We bring you the four-part <b><i>Ahamaq</i></b> (1992) as a single four-hour feature. The now prolific <b>Lav Diaz</b>, master of long takes and protracted cinema and winner of the Golden Leopard, Silver Bear and Golden Lion for the three features he has made in the past two years, took ten years to make his first feature, <b><i>Evolution of a Filipino Family</i></b> (2004), which begins on 16mm and ends in miniDV, runs for close to eleven hours and is set in a rural village that is living out Marcos ten year-long imposition of martial law. Watch it in one go if you can, it will leave you changed.</div>\n<div><br /></div>\n<div>Three works from 2014 cap the contemporary shore of<i> The New Medium </i>programme. <b>Phillip Warnell\u00e2\u20ac\u2122s</b> <b><i>Ming of Harlem: Twenty One Storeys in the Air</i></b> turns wildlife photography on its head as we experience the life of a tiger and an alligator living in a NY apartment. <b>Jean-Luc Godard</b> brings us a 3-D subterfuge with his <b>Goodbye to Language</b>, pulling our eyes in different directions, experimenting with DIY 3-D rigs, Go-Pro home videos and 3-d graphics. And finally <b>Harun Farocki,</b> who passed away soon after making <i><b>Parallel I-IV,</b></i> leaves us with a new history of the computer-generated image in gaming; coming full circle from the celebration of <b>Vertovs </b>all-seeing machine eye.</div>\n<div><br /></div>\n<div>We dedicate this edition of <i>The New Medium </i>to<b> Harun Farocki</b>.&nbsp;</div>\n<div><br /></div>\n<div>- <b>Shaina Anand.&nbsp;</b></div>\n<div><br /></div>\n<div><br /></div>",
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"shortname": "winter",
"title": "Evenings at CAMP Rooftop",
"header": "The cinema on the roof-top is back this season, and will be hosting events just like before. Stay tuned for un-released films, archival journeys through unforeseen events, surprising assemblages of well-worn tropes, and some formal, contemplative cinema.&nbsp;",
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"shortname": "kamal",
"title": "Battle for Banaras",
"header": "<div>\n<div><font color=\"#ffa500\"><span class=\"il\">Battle</span>&nbsp;for&nbsp;<span class=\"il\">Banaras</span></font></div>\n<div>Kamal Swaroop, 2014<br />\n2hrs 13mins</div>\n<div><font color=\"#ffa500\">Friday, 18th November. 8 pm</font></div>\n<div>Kamal and the crew will be present.&nbsp;</div></div>\n<div><br /></div>\n<div>Through the film we cutaway to the river's edge and two men talking, about this place, and about politics older than the modern Indian city. Then we enter the city again, and its rushes of electoral spectacle, surging crowds, politically astute residents, actions designed for this time and place. When Kamal Swaroop says \"I am no longer speaking, in my films\" he seems to mean that he watching the crowds, listening, looking from whatever distance is possible, often with a long lens and a small crew.&nbsp;</div>",
"body": "<div>Thus we are treated to a film set deep in the documentary genre. When we cutaway again, the man in the white shirt says about&nbsp;<span class=\"il\">Banaras</span>&nbsp;in 1781:&nbsp;\"...<i>the one being attacked and the one being defended both ran away, and the crowds were left, fighting ghosts</i>\".</div>\n<div><br /></div>",
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"shortname": "ghar",
"title": "From Janta Colony to Janta Colony",
"header": "<div><font color=\"#ffa500\">(imaginary to destroyed)</font></div>\n<div>A Journey through Housing in Bombay&nbsp;</div>\n<div>Part-I: 1950 to 1982</div>\n<div>\n<div><font color=\"#ffa500\">Tuesday, 29th November, 2016</font></div></div>\n<div>6:30 pm to 9 pm</div>\n<div><br /></div>\n<div>From \"<i>Shehar aur Sapna</i>\" to the Olga Tellis case. Via print and film, music, love, bulldozers, state propaganda and people's archives.</div>",
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"pk": 297,
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"shortname": "cyano",
"title": "The Country of the Sea",
"header": "<div><font color=\"#ffa500\">Single-exposure solar cyanotype print on cotton fabric</font></div>\n<div>2015</div>\n<div>16 X 5 feet</div>\n<div>at Experimenter, Kolkata&nbsp;</div>\n<div><i><font color=\"#ffa500\">Raster-Emerging from the grid&nbsp;</font></i></div>\n<div>November 18 to December 31, 2016&nbsp;</div>\n<div><br /></div>\n<div>CAMP with Shunya Collective present a large solar cyanotype map of the sea, part of the long-term maritime project Wharfage.&nbsp;</div>",
"body": "<div>More than 100 cities and small ports from Khor al Zubair/ Basra to the Mozambique corridor from North-South, and from Bharuch to Berbera East to West, are marked as frontier towns. The sea in between is proposed as its own \u00e2\u20ac\u0153country\u00e2\u20ac\u009d, a new geographical and cultural entity.&nbsp;</div>\n<div><br /></div>",
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"pk": 298,
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"type": 2,
"shortname": "YUKT",
"title": "Ghashiram Kotwal - the film by YUKT",
"header": "<div><font color=\"#ffa500\">Ghashiram Kotwal</font> (1976)<br />103 mins.&nbsp;</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">Kavita Gherao</font> (1998)</div>\n<div>20 mins.&nbsp;</div>\n<div><br /></div>\n<div>Saturday 17th December, 2016</div>\n<div>6:30 pm</div>\n<div><a href=\"http://studio.camp/campstudio.html\">CAMP rooftop</a></div>\n<div><br /></div>\n<div>Ghashiram Kotwal is the only collectively authored production of YUKT (some members say it stood for: Union of Kinematographers and Technicians) which included people whose names are today far more familiar than when the film was made in 1976, such as Om Puri or Kamal Swaroop.&nbsp;</div>",
"body": "<div>From the credits we will not know who did what in the film - 16 cinematographers, editors, actors, sound engineers and directors were officially part of YUKT. One can instead, imagine an atmosphere at FTII Pune, where a radical Vijay Tendulkar play and the air of Emergency could arouse a plot, a debate, group efforts, workshops with actors some of whom had performed the play, an attempt to create a non-authorial but rigorous and located theory of filmmaking, scripting and film music, arguments about its success, and eventual dissolution of the collective.&nbsp;</div>\n<div>See also <a href=\"https://indiancine.ma/RME/info\">https://indiancine.ma/RME/info</a></div>\n<div><br /></div>\n<div>But we will open the evening with Kavita Gherao, a 20-minute film made on the FTII campus by a visiting film student during the strikes of 1996, about 20 years later, and now 20 years ago. &nbsp;</div>\n<div>See also <a href=\"https://pad.ma/YH/player/\">https://pad.ma/YH/player/</a></div>\n<div><br /></div>",
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"shortname": "gulf9",
"title": "THIRD LITTLE CINEMA INTERNATIONAL FESTIVAL",
"header": "<div>Opening Film</div>\n<div><font color=\"#ffa500\">From Gulf to Gulf to Gulf</font></div>\n<div>\n<div>Goethe Institut, Kolkata&nbsp;</div></div>\n<div>3 December, 2016 <br />6:00 pm&nbsp;</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">Masterclass with Shaina Anand</font></div>\n<div>TENT <br />(Theatre for Experiments with New Technologies)&nbsp;</div>\n<div>4 Bipin Pal Road</div>\n<div>4:00 pm to 8:00 pm</div>",
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"shortname": "gulf10",
"title": "Keimena - documenta 14 ",
"header": "<font color=\"#ffa500\">From Gulf to Gulf to Gulf&nbsp;</font>\n<div>The first in a series of curated films to be aired at midnight on Hellenic Broadcasting Corporation's public TV channel as part documenta 14 programming.&nbsp;</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">11:59 pm</font></div>\n<div>December 19, 2016</div>",
"body": "<a href=\"http://www.documenta14.de/en/calendar/5556/01-from-gulf-to-gulf-to-gulf\">http://www.documenta14.de/en/calendar/5556/01-from-gulf-to-gulf-to-gulf</a>\n<div><a href=\"http://www.documenta14.de/en/calendar/?c=5552\"><br /></a></div>\n<div><a href=\"http://www.documenta14.de/en/calendar/?c=5552\">http://www.documenta14.de/en/calendar/?c=5552</a></div>",
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{
"model": "content.content",
"pk": 301,
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"shortname": "berger",
"title": "John Berger, a Seventh Time",
"header": "<div>\n<div>Wednesday, January 11, 2017</div></div>\n<div>7:00 pm&nbsp;</div>\n<div>CAMP <a href=\"http://studio.camp/campstudio.html\">Rooftop</a></div>\n<div><br /></div>\n<div>This evening we bring to you some of the, lets call them migratory and joyous truths of the &nbsp;artist, poet, critic, marxist, screenplay writer, novelist and actor John Berger, as edited from sound, image and text archives of his work. Migratory in the sense of having something undogmatic, worldly and yet quite continuous to say, do, and make, in every recent decade. This small collection of materials suggests that we can think of the 20th century in artistic, irreducible as well as political and connected terms, without being crushed in their contradictions. And maybe even the 21st. &nbsp;</div>",
"body": "<div><i>If you set out in this world,&nbsp;</i></div>\n<div><i>Let these seven be your companions.&nbsp;</i></div>\n<div><i>One, who talks over Chandigarh</i></div>\n<div><i>One, who donates his Booker&nbsp;</i></div>\n<div><i>One, who shows us Ways of Seeing&nbsp;</i></div>\n<div><i>One, who reads Garlic and eats Saffron</i></div>\n<div><i>One, who draws a Dancer and unsettles Time</i></div>\n<div><i>One, who is a Storyteller</i></div>\n<div><i>If all they spark is not a fire</i></div>\n<div><i>you yourself must be the Seventh</i></div>\n<div><br /></div>\n<div>(via the <i>The Seventh</i>, by Attila Jozsef)</div>\n<div><br /></div>\n<div>Video and Stills with accompanying commentary</div>\n<div>100 &nbsp;minutes</div>\n<div><br /></div>\n<div>Bonus: <i>A City at Chandigarh </i>and <i>The Seventh Man</i>, Berger's photo-text book on migrant work.&nbsp;</div>\n<div>RSVP</div>\n<div><br /></div>",
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"model": "content.content",
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"shortname": "ocean",
"title": "From Gulf to Gulf to Gulf",
"header": "<div><font color=\"#ffa500\">The Ocean After Nature</font></div>\n<div>Grossman Gallery&nbsp;</div>\n<div>\n<div>School of the Museum of Fine Arts at Tufts University</div>\n<div><font color=\"#ffa500\">January 26, 2017 \u00e2\u20ac\u201c March 18, 2017</font></div></div>",
"body": "<div>In conjunction with the exhibition <a href=\"http://curatorsintl.org/events/the-ocean-after-nature-events-at-the-school-of-the-museum-of-fine-arts-at-t\">The Ocean After Nature</a>, the School of the Museum of Fine Arts at Tufts presents a film program featuring works by the Mumbai-based collective CAMP, the artist Ren\u00c3\u00a9e Green and the London-based collective The Otolith Group, as well as a rare presentation of Allan Sekula and No\u00c3\u00abl Burch\u00e2\u20ac\u2122s highly acclaimed The Forgotten Space. The films are presented serially, and the audience is free to come and go.</div>\n<div>\n<div><br /></div>\n<div>Anderson Auditorium</div>\n<div>School of the Museum of Fine Arts at Tufts University</div>\n<div>Free</div>\n<div><br /></div>\n<div>Program 1: Thursday, February 2</div>\n<div>12:15 pm \u00e2\u20ac\u201d CAMP, From Gulf to Gulf to Gulf, 2013, 83 min.</div>\n<div>5:15 pm \u00e2\u20ac\u201d Ren\u00c3\u00a9e Green, Endless Dreams and Water Between, 2009, 70 min.</div>\n<div><br /></div>\n<div>Program 2: Thursday, February 16</div>\n<div>12:15 pm \u00e2\u20ac\u201d Ren\u00c3\u00a9e Green, Endless Dreams and Water Between, 2009, 70 min.</div>\n<div>5:15 pm \u00e2\u20ac\u201d Allan Sekula and Noel Burch, The Forgotten Space, 2010, 112 min.</div>\n<div><br /></div>\n<div>Program 3: Thursday, March 2</div>\n<div>12:15 pm \u00e2\u20ac\u201d Allan Sekula and Noel Burch, The Forgotten Space, 2010, 112 min.</div>\n<div>5:15 pm \u00e2\u20ac\u201d The Otolith Group, Hydra Decapita, 2010 31:41 min.</div>\n<div><br /></div>\n<div>Program 4: Thursday, March 16</div>\n<div>12:15 pm \u00e2\u20ac\u201d The Otolith Group, Hydra Decapita, 2010, 31:41 min.</div>\n<div>5:15 pm \u00e2\u20ac\u201d CAMP, From Gulf to Gulf to Gulf, 2013, 83 min.MP, From Gulf to Gulf to Gulf, 2013, 83 min.</div>\n<div>Lineup:</div></div>\n<div><br /></div>",
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"type": 2,
"shortname": "Palestine",
"title": "PALESTINE: TERRITORY, MEMORY, PROJECTIONS",
"header": "<div><font color=\"#ffa500\">Al-Jar Qabl al-Dar &nbsp;</font><i><font color=\"#ffa500\">The Neighbour before the House&nbsp;</font></i></div>\n<div>MUCEM, Marseille</div>\n<div>SATURDAY 11 MARCH 2017</div>",
"body": "<div>Palestine: Territory, Memory and Projections is a program of film screenings, discussions with writers and intellectuals, and artist talks and discussions that wants to revisit the legacy of militant, poetic and subjective representations of Palestine.</div>\n<div><br /></div>\n<div>\n<div>SATURDAY 11 MARCH</div>\n<div><br /></div>\n<div>11:30 Presentation / Conference: On Participation / by Sandi Hilal</div>\n<div><br /></div>\n<div>14:30 Screening / Projection: The Shooter (Al-Takheekh)</div>\n<div>Palestine, 2007, Color, 8 minutes. In Arabic with subtitles in French.</div>\n<div>Written and Directed by Ihab Jadallah.&nbsp;</div>\n<div><br /></div>\n<div>Nazareth 2000</div>\n<div>Palestine/The Netherlands, 2001, 55 minutes.</div>\n<div>Written and Directed by: Hany Abu-Assad.&nbsp;</div>\n<div><br /></div>\n<div>16:00 Artist Talk : Emily Jacir</div>\n<div><br /></div>\n<div>17:30 Presentation: Inverted Vistas by Yazid Anani</div>\n<div><br /></div>\n<div>19:00 Screening: The Neighbour before the House (Al-Jar Qabl al-Dar), 2011, 60 minutes.&nbsp;</div>\n<div>by CAMP</div>\n<div><br /></div>\n<div>21:00 Screenings: A Post-Oslo History</div>\n<div>Annemarie Jacir, 2001, 8 minutes</div>\n<div><br /></div>\n<div>Infiltrators</div>\n<div>Palestine/Emirats Arabes Unis/Lebanon, 2012, HD, Color, 70 minutes.&nbsp;</div>\n<div>Directed by: Khaled Jarrar.&nbsp;</div></div>",
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"header": "<div><font color=\"#ffa500\">Tate Modern</font></div>\n<div>Transformer Galleries and Tanks&nbsp;</div>\n<div><font color=\"#ffa500\">Ten Days Six Nights</font></div>\n<div>March 24 to April 2, 2017&nbsp;</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">CAMP </font>presents a series of rarely-seen works including <i><font color=\"#ffa500\">Windscreen,</font> Capital Circus, <font color=\"#ffa500\">One-agreemen</font></i><font color=\"#ffa500\">t </font>and <i>Four-letter Film.&nbsp;</i></div>\n<div><br /></div>\n<div>We also host <i><font color=\"#ffa500\">Camera Obscura</font></i>, an evening with video and talk on the 29th of March.&nbsp;</div>",
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"header": "Featuring <font color=\"#ffa500\">CAMP Roof</font> (2010), <font color=\"#ffa500\">WiCityTV</font> (2005) and<font color=\"#ffa500\"> Pad.ma </font>(2008-ongoing)\n<div><br /></div>\n<div>Kiran Nadar Museum of Art</div>\n<div>Noida&nbsp;</div>\n<div>April 18 to October 31, 2017&nbsp;</div>",
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"header": "<font color=\"#ffa500\">Tate Modern</font>\n<div>29th March, 2017, 7:00 pm</div>\n<div>South Tank</div>\n<div><br /></div>\n<div><font color=\"#ffa500\">(Preceded by viewing of Four-letter-Film in the East Tank)</font></div>\n<div><br class=\"Apple-interchange-newline\" />Using a live presentational format honed through years of public presentations in their rooftop cinema in Mumbai, CAMP takes us into the dark rooms and black boxes of our times.&nbsp;</div>",
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"description": "Amar, (Vinod Khanna) shows his Police ID to a goon. ",
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"description": "Rishi Kapoor and Neetu Singh in the popular 'Purdah hai purdah.' ",
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},
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"description": "happily ever after...",
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},
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},
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"description": "Ashok showing them a micro media project in India. ",
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"istech": 0,
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},
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"description": "Video from Khirkeeyaan, New Delhi. ",
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"height": 330,
"istech": 0,
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}
},
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"description": "Demonstrating micro-FM with DJ Amala and the English professor. ",
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"width": 600,
"height": 330,
"istech": 0,
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}
},
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"description": "Along with Live video. ",
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"istech": 0,
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}
},
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"description": "Another class going on in the next room. ",
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},
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},
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"description": "Joe tracks a man down several streets, takes a picture of him all the while demonstrating the cameras, their spread and capabilities to Gwen and Sarah, students at MMU. <br /><br />\r\n\r\nAs an MA visual culture student at MMU, surveillance is a fascinating local and global issue sown in the roots of Israel's architecture and entwined in the panoptic structure of libraries, theatres and prison worldwide. Within the context of MMU, surveillance-through the mechanical eye of cctv-functions as crime prevention. A 24 hour witness that can't actually intervene however. It also raises the issue of privacy seeing the private moments of different individuals on the screens made me feel uncomfortable that a condition of modern life is that your private moments are no longer your own. - Gwen Osmond, Manchester.<br /><br />\r\n\r\nBefore entering the CCTV control room I suddenly became nervous with a guilty gut feeling! I think the anticipation was provoked by my own acknowledgement that I have until this point, successfully ignored and repressed my awareness CCTV. The guilt came out of entering the space behind the cameras which I had previously labelled as deceptive, invasive and even useless due to past experiences. I didn't want to be that person spying on everyone else through a camera. My academic background and theoretical interests in Foucault and Virilio motivated me to participate in this project as a great opportunity to experience first hand what it is like to be behind the camera which has produced such controversy and interest within society. It is amazing how a camera can produce such political, social, psychological and artistic interest. Ironically my experience was actually quite mundane. The illusion of the invasive surveillance camera was shattered the moment I stepped into the CCTV room when I was confronted by friendly faces with mugs of coffee on a long day shift just doing their job. They are human beings after all, with moral and ethical consciousness, observing abnormalities with the intension of prevention and protection against criminal behaviour. - Sarah Jamison, Manchester.<br /><br />\r\nLonger video, transcription, annotation and torrent download:<br />\r\n<a href='http://pad.ma/Vfc3nh5d/info'>http://pad.ma/Vfc3nh5d/info</a>",
"width": 400,
"height": 300,
"duration": null,
"thumbno": 10,
"image": "MMU4.jpg",
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"href": "CCTVsocialFive",
"title": "Session 5. 4pm. Its Personal.",
"description": "At 4 pm, A young man and woman came in and started a conversation that considerably changed the dynamics of the room. They began by questioning CCTV's near total inefficacy when it came to preventing violent crime. Joe and Steve got defensive, and stated that they were the first people in the day who had such obvious issues with video surveillance and began speaking about actual crime in the estates and suburbs. When it turned out that both Joe and the participants lived in Mossside, 'one of the roughest neighbourhoods around' the discussion shifted towards policing vs community support. D said that the only way to effective crime control was if police officers had personal relationships with the community or neighbourhood they policed.<br /><br />\r\n\r\nLonger video, transcription, annotation and torrent download:<br />\r\n<a href='http://pad.ma/Vfx9rui4/info'>http://pad.ma/Vfx9rui4/info</a>",
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"href": "CCTVsocialSix",
"title": "Session 6. 5pm. I fell asleep watching the telly...",
"description": "IN THE CULT OF THE EARNEST WATCHTOWER. OMNISCIENT ERNIE ENSURING THE STUDENTS COMFORT ZONE INTERCHANGEABLE TIMECODES. SRcEEN 1, SCREEN 2, SCREEN 3,SCREEN 4,SCREEN 5, SCREEN 6 etc\r\nUNPIXELATE, FELL ASLEEP, ELBOWS SLIPP FROM DESK THE IRIS DESIRES TO WEEP\r\nTIMECODES REWIND, IT WILL GIVE US A CLUE ! <br /><br />\r\n\r\nCCTV; STATE APPARATUS, PROTECT CIVILIAN LIBERTY, STUDENT PROPERTY.NONETHELESS UNPIXELATE LEGITIMATE VIOLENCE\r\nMY RUINED DREAMS OF FUTURE TAFFIC WARDEN PROTOCOL NEW CCTV GENERATION APPARATUS, ZOOOM TECHNOLOGY.\r\nYOU WILL GET THE PENALTY TICKET IN THE POST. - Matthew Holland, Salford. \r\n<br /><br />\r\nLonger video, transcription, annotation and torrent download:<br />\r\n<a href='http://pad.ma/Vfc3nh5d/info'>http://pad.ma/Vfc3nh5d/info</a>",
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"pk": 18,
"fields": {
"sha1": "a2eda5e8a585f86e2394911bc109d42e5fa23b5d",
"href": "CCTVsocialSeven",
"title": "Session 7. 6 pm. The footage...",
"description": "'The footage' was once a cinema hall, now its a pub. Both Lowri and Amy had been victims and witnesses of crime that had occurred in the area being surveilled by the MMU security Centre. They recount these instances, even as the operator tracks a a hooded male down several streets.<br />.<br />\r\n\r\nI used to spend a lot of time in the area that the control room watches. i could not believe all the cameras, tapes, time, money and work that was involved in surveilling this part of the city. you would find it difficult to disappear here. after the experience i felt very different walking under the cameras, part of me felt intruded on, but i also felt playful and kept waving at them to the security guards, i don't know if they spotted it. mostly i thought about all the stupid things that i have done there, the whole time not knowing i had an audience who could zoom in and replay over again at the touch of a button. - Lowri Evans, Manchester. \r\n\r\n<br />.<br />Longer video, transcription, annotation and torrent download.<br />\r\n<a href='http://pad.ma/Vfsutshl/info'>http://pad.ma/Vfsutshl/info</a>",
"width": 400,
"height": 300,
"duration": null,
"thumbno": 10,
"image": "MMU7.jpg",
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"sha1": "dcde157e4ede306119c561fec7660ed6cd99f24d",
"href": "CCTVsocialEight",
"title": "Session 8. Of pubs, parks and estates",
"description": "Julie works at ITV. The older security officers are also present in the room and the conversation opens up to involve them. Steve expresses their resentment at being stereotyped as a 'four pound an hour security guard on a power trip' even as the patrol officers reassert the importance of the 'man on the ground' over CCTV. Julie talks about young kids on estates having no respect for the elderly and is corrected by Steve who pointedly tells her that kids at Uni can be just as offensive. Soon the discussion moves to the pubs (as seen on CCTV) around the Uni and the near complete gentrification of the place, the resentment amongst locals who can no longer visit their local pub since its now 'student-only'. In a subtle reversal of subjectivities, we hear first hand from the security guards about the rapid gentrification of the city, 'Picadilly gardens used to be beautiful. It's a bloody Berlin wall now!' <br /><br />\r\nLonger video, transcription, annotation and torrent download: <br />\r\n<a href='http://pad.ma/Vfgebc2x/info'>http://pad.ma/Vfgebc2x/info</a>\r\n",
"width": 400,
"height": 300,
"duration": null,
"thumbno": 10,
"image": "MMU8.jpg",
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"pk": 20,
"fields": {
"sha1": "479a03d7200ed0649cd7eb058541788b99116af3",
"href": "CCTVsocialNine",
"title": "Session 9. Official Secrets Act",
"description": "On Sunday afternoon I was lucky enough to spend some time at the surveillance nerve centre of Manchester University. The film was being created by an Asian woman called Shaina Anand, whom I knew nothing about. \\The form the documentary took was to let people i.e. people like me, into the surveillance room where all the TV screens were stationed and allow me to ask questions to the people whose job it was to monitor the screens. It was an eye opener in every sense of the term. They can see everything that's happening in the surrounding streets from that little room in stunning clarity; so-much-so that it would be practically impossible to do anything undetected by the beady eye of the CCTV cameras.<br />\r\n\r\nIt was funny but the thing that broke the ice was a comment I made, 'Wow! This is like something from 1984' (cliched I know), but I had to hide a chuckle when Joe, one of the two operators, said without a hint of irony 'No, all this equipment is only ten years old'. Whether that gives a hint to the calibre of person whose job it is to spy on/police the streets I don't know, but it certainly gave me one. And that really was the problem; I couldn't for the life of me trundle out all the arguments about how this snooping encroaches on civil liberties as well as personal freedoms, or why every citizen has now become someone with the potentiality for criminality. These were two working Joes, except one was called Pete, who were earning a wage by doing what they were told to do. So I spent the hour I had asking them about what they knew best, their job. I should add that whilst all this was happening I had two cameras trained on me which at first made me feel a little uncomfortable, but the frightening bit is just like the people we watched on the streets outside, eventually I forgot they were there. - Philip King, Manchester.<br /><br />\r\n\r\nLonger video, transcription, annotation and torrent download:<br />\r\n\r\n<a href='http://pad.ma/Vu5o965c/info'>http://pad.ma/Vu5o965c/info</a>",
"width": 400,
"height": 300,
"duration": null,
"thumbno": 10,
"image": "MMU9.jpg",
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"pk": 21,
"fields": {
"sha1": "f08a85779a1897a06f1c48cc76da59640ad46a4f",
"href": "CCTVsocialTen",
"title": "Session 10 distancing.",
"description": "So you've been in an edit suite for a few days, looking at the same actions in minute detail, scrolling back and forth from frame to frame. You step out onto the street for some daylight and one of your documentary participants is passing by and greets you. Suddenly you are shy, and they look at you strangely because you are being coy when they haven't seen you in weeks. But you're busy studying their jaw, their pattern of speech, because you have been capturing, observing and controlling their image intimately for hours on end. And what if all your subjects are strangers, and none of them know you. Can you keep a secret? \r\nKate Taylor, Liverpool. <br /><br />\r\n\r\nLonger video, transcription, annotation and torrent download:<br />\r\n<a href='http://pad.ma/Vha3qgya/info'>http://pad.ma/Vha3qgya/info</a>",
"width": 400,
"height": 300,
"duration": null,
"thumbno": 10,
"image": "MMU10.jpg",
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"fields": {
"sha1": "2d607d078bd2ec09a6b44c3adf9a086a2706d4f4",
"href": "CCTVsocialEleven",
"title": "Session 11. Someone's always watching.",
"description": "video, transcription, annotation and torrent download:<br />\r\n<a href='http://pad.ma/Vs6686ca/info'>http://pad.ma/Vs6686ca/info</a>",
"width": 400,
"height": 300,
"duration": null,
"thumbno": 10,
"image": "MMU11.jpg",
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"pk": 23,
"fields": {
"sha1": "2fee79f1278e07dc97accf67cd6fc3b9323c4f47",
"href": "CCTVsocialTwelve",
"title": "Session 12 \"a bit like god\"",
"description": "video, transcription, annotation and torrent download:<br />\r\n<a href='http://pad.ma/Vs6686ca/info'>http://pad.ma/Vs6686ca/info</a>",
"width": 400,
"height": 300,
"duration": null,
"thumbno": 10,
"image": "MMU12.jpg",
"contentid": 26
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"pk": 24,
"fields": {
"sha1": "aabbccddeeff1122334455667788",
"href": "CCTVsocialWalk",
"title": " Campus Walk",
"description": " <a href=\"http://www.chitrakarkhana.net/cctv/CCTVSocialMMUwalk.ogv\" title='Campus Walk Ogg Download'>Download</a> Longer hi-res Video.",
"width": 400,
"height": 300,
"duration": null,
"thumbno": 10,
"image": "MMUwalk.4.jpg",
"contentid": 28
}
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