Drawings

 

Empirical Ironies / Of Mobilities

I cannot stop myself from thinking of the image of a person on a treadmill...A person running on a treadmill is mobile or stationary?  During COVID, for example, when most people were stuck at home, mobility became a serious issue for those who are genuinely concerned about their health. Apart from fitness freaks, there are also diabetic, cholestrol ridden people for whom a regular walk is essential. What do we make of mobility in the city then? During such a situation, we found people finding different ways to move in their own homes, in turn, reinventing the geography of their own homes. The domestic interior became the extents of mobility - short or long, and movement got reinscribed into a new spatiality. The treadmill is a trope to compensate the spatiality of movement. It not only serves as proxy for unavailability of long distances to jog or trek, but also when it may not be possible to do so during extreme weather like rain or snow. Thus, the treadmill is a machine designed to keep you mobile while you are still at the same place, in the same environmental conditions. People further try to access this exterior environment by switching to music or watching something, feeling mentally transposed into the reality outside. The journey of running on the treadmill is just to be in the same place, but having traversed a long distance. 

On the other hand, a month ago, my 76-year old friend broke her hip bone as she slipped while having a walk on her building terrace. Bedridden with stitches, she suddenly became immobile without being able to move her limb. However, basic daily activities like defecating, urinating, bathing, eating, opening the door also requires one to be sufficiently mobile. In the context of an aged body, these could mean a lot of effort. For my friend for example, a simple task of visiting the washroom became herculean. For what she took a minute, now she took more than ten. Besides, her mobility had to be aided by another person and a walker. While in the case above, the journeying long distance kept you stationary, the second case, in the second case, the walk from the bed to the bathroom became a journey. These contrapositions offer new ways to think of mobility beyond the assumed bodies, and allow to expand the meaning of mobility for a variety of bodies - while keeping in mind its literal physical understanding of movement on ground. 

--

The above thoughts emerged in response to a discussion with German group of students who were in Mumbai to compare notes towards a framework for creating 15-minute cities where they mapped people's movements in different neighbourhoods across cities within a 500 m radius mapping which programmes are accessible and how may they be more efficiently worked out towards reducing environmental pollution caused due to vehicular movement and other aspects. the empiricism of their study was jarring to an extent where one of their findings speculated that the lack of a garden within the minimum time reach of people within an Indian neighbourhood may create a disincentive for a family to plan a baby while they continued to live in that area. I felt it was very reductive a proposition and also an unconsidered imposition of a certain spatial value that was based purely on numeric study, without taking into account cultural factors through which people choose to be in a given space. Nevertheless!

Of Stranger Conversations

Long ago, my cousin had expressed to me her unwillingness to engage in conversations with fellow passengers in mail or express trains over long distances. "Once you begin to entertain them, you have to follow all the social obligations - smile at them, enter into conversations, offer your food, accept their foods, accommodate requests regarding changing positions, seats, sleeping places, offering window seat if you don't want to..." I could not agreeingly share more disgust - this common culture of bonding over long distance train travel that were once common (and still are, despite much people now take flights) for middle and lower class people in India, is often discussed for how sociality is so easily produced within the millieu of india. The talks in such conversation, primarily among middle aged heterosexual married women, or men, are about long laments and languishes of family life, introductions to relationships, places and people, movements and migrations and such other small talk. I have largely abhorred these discussions, as they seldom have any content, merely initiated for timepass. These are small talks over an extended time in a forced situation which strangers cannot escape. These conversations hold strangehood in the fake cover of familiarity - an assumed sameness amongst strangers that holds the awkwardness of the moment. Here, banal conversations are made with utmost interest and concern, with no expectations and with the full knowledge that these would have no futures. I am intrigued about how these strangerhoods are performed, what content gets shared, what backgrounds get assumed, and what questions get asked. There are no stakes in such conversations - they are free reeling exchanges of everyday nothings.

I began to think about all this just because one such characeters, a man, began to speak to me over my short train  journey back from Nashik to Mumbai. As i settled in my seat within the train, he - a middleaged guy, waited for a few minutes, until he broke into conversation: "So you are going to travel until the last stop?"

I said, "Not the last, one before...I get down at Dadar"

"That's the last one..."

"That's not technically the last, because the train goes ahead until CST."

"Ah yes"

"So you live in Nashik"

"No I was here for work"

"Ah, you were sent by your company?"

"No. I came by myself"

"What do you do?"

"I am an architect. I was here to write about a building"

"Okay" (gives a blank look)

I smile

"What about you, what brought you to Nashik?"

"I was worshipping Shirdi and Trimbakeshwar"

"I hope it went well"

"Shirdi was very organised, Trimbakeshwar was messy?"

"So was Shirdi crowded?" I asked 

"I was in the general line, but then i upgraded myself to the VIP line by giving 200 Rs."

"Ah okay"

"I was in Nashik the day before - i went to Panchvati, to other ghats, and then went to Shirdi"

"Okay" (by this point, i was already getting bored, since I had no interest in any of these details, neither did i know why was he telling me all this)

"So you are married?"

As much as i was taken aback, I obliged and answered "No, I am single"

"Okay, i went with my wife and kid"

"Okay"

"So you are not from Nashik"

"Yes, I am from Mumbai"

"Okay, so you were sent by your company..." (somehow his worldview could not digest the fact why I was in Nashik alone, by myself)

"I teach architecture in a school, I am a professor. I write independently on buildings, hence I was here"

"Okay, so you are a writer?"

"Yes" (I didnot know how more to enlighten this seemingly educated man).

"So where in Mumbai are you from...." (he was still trying to grapple why was I in Nashik)

"I live in Goregaon"

"Okay, so you are from Mumbai?"

"I mean, I am Marwari, and I have grown up in Mumbai."

"I am from Bihar, but I live in Mumbai" he said

"Ah ok, which place?"

"xxxx, do you know?"

"Yes, my native place is in Bihar, i mean Jharkhand now"

"Where?"

"Dhanbad, I was born there"

"Okay."

and then he was interrupted by someone, and i took the opportunity to turn away from him, and think, of why was I lending all these personal details and what would he do with these? but more than that, I began to think, what questions do we ask people in our first meeting? What first questions shall we ask a random stranger? And through these - his first interrogations started appearing to me more and more offensive - I kept asking myself,  'why on earth would he ask me if i was married?' and then I began to think about the heteronormal construct of this world, and how lives of hetero middle aged men and women largely take same trajectories, same aspirations - of finding a company job, having kids, managing kids, visitng pilgrimages together on the name of outings, asserting hope through the assertion of common faith... What is the politics of this assumption? And could this assumption be a form of ignorance in itself?

I kept thinking and thinking until i came to write this post, that i perhaps want to develop into something more substantial. But in the mean time, i leave this for more discussion. Please respond in comments if you have come across such unexpected contemplations....

What Architecture Can Do? Exhibition at Avani, 2019

Zostel Panchgani, 2019

 

Pause Toilet

 

Studio Locus

 

Gift Tags

Ghosts in my Sleep \ Sohrab Hura at Experimenter, Mumbai

On Art

"...Experiences that donot have words yet..."

All art perhaps tries to say something that conventional verbal or written language cannot capture, and vice versa. When something verbal can be expressed in art, it then becomes representation, or illustrative. This is the critique of representational art, perhaps. This, art that moves us is affecting us at a level slightly deeper than comprehensible. In the comprehension of that excess is where we push the boundaries of knowledge. The percentage of this excess may be very little, but to push that aspect is precisely the work of the artist. That is perhaps artistic practice, and what accounts to artistic "work". This work is not possible in the domain of representation, or total translation. For instance, if translation has to become art, then translation has to culturally push the limits of original text to become sustainable and critical for the present or future. This also doesn't mean that accurate representation of reality is not art. It doesn't mean that hyperrealism doesn't count as art. Here the context of time and space in which that art gets produced must be taken into account, for the disposition of that representative content on art may be quite different. To reinvent accuracy at different periods in history through the technology of its time, or in conversation with the technology of its time is then the content of art. This kind of churning allows perspectives to become referential and produce a search for relevance.