Bomb in the Museum

Investigations into the physical manifestation of fear in the city

Post the terror attacks, where on one hand, there is a lot of rage in the pubic mind, there is an induction of tremendous fear on the other. We see the manifestation of the fear in urban environment in the form of increased security booths, check points, CCTVs and upgradation of existing infrastructure.

Bomb is a volatile explosive. It has become a common object of everyday discussion, still maintaining its destructive position. As an object, the bomb remains suspicious and follows no particular schedule to explode in the course of city life. Explosions happen. However, bomb is an explosive only when ignited.  If placed in a museum, a bomb is just an exhibit.

  

The city is a container of objects, people, infrastructure and above all – ideas and memories. It is here when all physical substance in the city becomes exhibit. The city gives a large canvas to all the matter to exist in the backdrop of each other. Therefore, like the museum, the city is a storehouse of myriad objects and activities,  contributing towards memories, histories and events.

Bomb in the Museum thus allows a dual perception of both, the bomb and the museum. The museum is a storehouse of memories, like the city, but also in an explosive state because of the presence of the bomb.

The city’s behaviour to this bomb is aberrant. To some, the bomb invokes, to some, it inspires and to some, the bomb just scares – others just ignore it. Each of such behaviours ultimately results into some kind of explosion – personal or public. These explosions might be diverse in nature and either work towards improvement of the museum/metropolis or destroy/harm the city which may again gear towards improvement. Both these acts are indicators of some physical action in the city, which affect indirectly the city’s functioning, the city’s perception and its behaviour.

The museum’s behaviour towards the visitor is important because that may also lead towards the creation of a ‘bomb’/the exhibit. Thus user in turn defines a space for the artifact – the bomb, through the nature of their movement around the exhibit.  This space is either repellent or attractive, it creates its own domain. Thus the exhibit controls the actions of the visitors in the museum, and the visitors remain in disguise about the fact that the bomb is their own creation. 

How do people’s thoughts become the ingredient of supplanting a bomb?

e.g.: Statue of Thakerey’s wife at Shivaji Park is a bomb as well as an exhibit in the city. It creates its own space and own behavioural pattern.

An investigation into which spaces are used for realizing and placing such bombs: What tension such spaces exist in and what is the nature of a volatile space? How does a bomb, which is an exhibit first has the potential to explode the museum itself?

(another obscure fragmented idea developed during 2009)
seems like the right time to publish it here!

Orientation Workshop AOA 2009-10

Things which probably all forgot. Some beautiful drawings of students from my archives. We did an orientation programme  at our own humble scale for students who joined AOA in 2009-10. We showed them films, read a book and deconstructed and married objects to open up ideas then...
These never got published, never got recognized and  were never spoken about again...I don't even know it students cared! I mailed them a copy, and got no response!

Arrangements

Every morning when I see the fruit sellers on the D'silva street at Dadar, I go crazy with the amount of things I imagine. Edging the pavement on both sides, they all sit arranging various kinds of fruits in their baskets. The round basket sets the meta-geometry for the arrangement of their fruits. They try to line the edge of the basket through the geometry of each fruit. I think it's like playing or solving a jigsaw puzzle. Although each piece of this puzzle seems same, their smaller variations need to be manipulated for a crisp arrangement all the time. This probably must be a meditating exercise in itself.

Can I, for the sake of generalizing these shapes of various vegetables and fruits, call them objects? Let us treat them as objects for my discussion here.

The various parameters that dictate the arrangements are the shape, size and the material of the object. The size that the arrangement can achieve is also dictated by the above three parameters.

most of these objects are spherical and therefore are stacked into concentric rings over each other. Each following ring in smaller than the previous to keep the centre of gravity within the basket. Objects like mangoes, apples, etc. are treated as eggs and one can find papier mache crates these days to accommodate them. Apples have the luxury of having styrofoam jackets also.

Probably the most careful handling amongst all the fruits would be that of the black berries (kala jamuns). In my childhood days, I have thrown a lot of stones at jamun trees to have the pleasurable fruit. Jamuns are very delicate and much of them are destroyed by crows and rodents. They shake them off the trees, and the fruit is destroyed due to the impact of the fall. Ripe jamuns are very delicate. And one can see with how much care the vendors treat it. It must also be a very delicate process to pluck them off the tree such that we can enjoy the beauty of the smooth skin of the fruit with our tongues! The vendors carry and arrange each fruit with so much care...like a jewel. Further, I am fascinated by their arrangements.

Depending on the size of the fruit, the arrangements look like fort walls, pyramids, stone walls, etc. I enjoy looking at these compositions and keep wondering if these can be used a building blocks! Even otherwise, they look beautifully composed objects. The order is functional, completely.  Probably the most interesting arrangements are those of flatter objects like leaves, of different plants. The colocasia, or the lotus or beetle leaves. They actually give more cues for arrangement of objects. The dynamic shapes that their configuration eventually takes is worth watching. They are like giving an array command to a shape. Also like scripting. One module multiplied and arranged just by displacing its position.

Forms, surfaces, voids - all of them create beautifully. I wonder if this craft of arrangement can be pulled into some kind of knowledge? Meanwhile, they remain interesting engagements.

Being cynical

Some people had told me important things which either I have not succeeded to implement yet, or probably I have developed habits which will take time to wash off. One of these was to accept people as they are. To accept human nature. To accept that the way people are behaving is natural. That the difference we see in people and activities around us is a matter of our own conditioning. Does everyone believe equally strongly in they own conditioning? I think I do. And I may be completely unreasonable.

In the course of life, conditioning stops at a certain stage. Till a certain age, one and one's actions are conditioned by the institutions that one engages in. We completely submit in these institutions and construct our values through their learning. Once you are outside the aura of the institutions, you meet a new world. This world is completely different from that of rules, codes and values. Those conditionings that the institutions taught you make you uncomfortable now, since now, you are not operating in a group (either the family as a groups, or the school as a group or the neighbourhood as a group - all are governed by certain rules - said or unsaid). I think it is here where the process of judgment starts. 

Which of these institutions is strongest I dont know. But our constructs take on values filtering through the strength of these institutions. To make it simpler, an example would be that if your school teaches you not to lie and the family teaches you that lying for someone else's good is okay, then the way you act in a situation where you have to make a lying-based decision will be filtered through the ideal school principle, then the family - since it encompasses the lie. So you will end up accepting to lie.

I think the above is slightly complex and I can not even begin to explain it. But I am just trying to understand if there is any ONE single way of behaviour which satisfies all groups. Can there really be an ideal human being?

Ah Plato!

At this stage in life, i am beginning to be extremely cynical. I am whining far too much. I think it is the difference of conditioning that I was talking about. Things are not as we were taught by the institutions. And the institutions didnot tell us how to handle this situation. How do you handle oneself being cynical? Being too critical - is it what I just enjoy for the heck of it? I have to find why am I being critical? Is it even helping? What is it doing? It's irritating me. 

Who is a Marxist?

What is it to be a Marxist?
Shubhalakshmi explained me in a very simple manner.
To  believe that all conditions that we experience and that the way in which society is organized / structured; is due to a certain kind of means of production is a Marxist thought. The Marxist locates entire history in the materiality of life and the means of production. It is an ideology which bases values like morals, ethics and other social relations also on the material world. Thus, the thought is an extreme version of rationality which locates the cause and effect of all situations in the real physical world. To also understand every one as equal (the socialist thought) and to regard every one to have equal stake over every resource is another characteristic of a Marxist.

Thus a Marxist may not believe in the existence of God, since God is non-physical. God is an idea, would say a Marxist. That irrationalities are also a part of the modern world is still not a reason to believe in something extra-real. The Marxist theory probably doesnot regard the spiritual grounding of certain systems of thought. A majority of India still operates through its belief in rituals, customs, traditions and spiritual thoughts. Such systems of thought believe that life is not so much about the material, but the non-material. It emphasizes on the ideas of space, void, tantra, etc. - things that can not be explained simply.

***

Why did the prehistoric people paint in the deep dark recesses of the caves? (referring to a hunting act painting in the Lascaux caves)
She said:
It is a belief that the practice of drawing was an exercise in practicing the act of hunting. The pre historic people probably thought that the spirit of the animal is trapped in its image. So the production of the image was like rehearsing the act of hunting through the image. In deep recesses, one has to focus light on the painting. The darkness gave an opportunity to focus on the animal and the act (specific parts of the painting). The painting thus became a knowledge to be passed on. It became a cultural object of preserve.

(Now perhaps this won't be a marxist explanation for the cave painting...)

***

When a dot walks, it becomes a line
When a line walks, it becomes a plane.

-Paul Klee.

What's in a Name?

I have been recently receiving lots of gifts from friends, students - and it is overwhelming and embarrassing! I am not used to accepting gifts now and especially when I don't feel to have done any thing for any one...
the first one above is a thank you card from Nandita Rebello, who expressed her thanks for our discussions on her thesis.

The second one is by Areeba, my student who visited Istanbul during this summer vacation...Probably this could have been the best essence of the place she could have got back for anyone! I can still feel the artist curving his fingers carefully to shape my name - the script reminds me very strongly of Urdu, yet it's english.

In both the above, I kept looking at the lines for some time, only to realize later that they were my names!! I never thought someone could engage with a name so passionately...
But these are probably things which I shall cherish for a life time...

Thank you all!

Symbology / The Cosmic Sexuality

Mazgaon

I keep thinking if i could gaze at a city like this forever. From this viewpoint, or probably higher, it would almost seem that buildings are shooting up like wild grass...

However, they look seductive - the picture perfect city...and when you move into these lanes, you feel they are almost going to fall over you - it hurts your neck to turn obtuse to look at tall towers...but from here it was comfortable. Skylines like that of Mumbai are a pleasure. For most, they become logos that mean different things: the architect will put it in the visiting card (as something that he/she shapes), the economist will use it in maps of the economy, the real estate in planning their next tall tower, children in their memory drawing of the city - only a distanced view is seductive. Lines that only go up and come down...is the city as easy as that?

Mumbai Central

Things I don't understand!