Eradicating Politics Or How Technology Can Help Keep Annoyances Away!

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How do you respond to an article that carries the seeds of its own negation? Blakemore is excited, but it seems the excitement comes from spending too much time with people with technology tools and a story to sell.

This entire article read like a promotional brochure because:

– the GPS mapping companies with a vested interest in promoting their projects and products are repeatedly mentioned in the article.

– the owners / employees of those companies are the only voices we get to hear.

– the technology is placed at center stage, manufacturing that most perfect of TED-elusions i.e that technology overcomes politics, policies, interests, governance, history and the agency of people itself.

This latter point is critical: what the article veils is the ordinary and lets-get-our-hands-dirty work that people who need to confront the local government, demand action and change, and improve their lives, still have to do. the GIS products mentioned here actually only enable them to do this better, but they do not create their ability to do it at all. In fact, that the local communities are in fact engaged in demanding rights and services from the city, state and federal governments is nothing new, and in fact, had the writer bothered to look carefully, one of the most obvious things that she would have seen in such deprived and marginalised areas. there are dozens of groups and community activists fighting to improve conditions, and to push back an exploitative and indifferent city government. this is true across slums around the globe.

These new tools are useful, and they can be very helpful, but only if there are existing movements, organisations and groups already occupied in achieving the ‘betterment’ situation they are working towards. the tools simply are tools, they are not creators of new human reality or realisation. they complement, and make more effective, the argument of the weak against the indifference of the state. this latter fact i can believe. but, simply putting facts to maps isn’t that interesting because it ignore something called reality. As Lanier has often argued, data isn’t even reality. The article itself steps over itself, though never letting a realisation ruin a good copy, when it just overtly points out:

“In 2006, a University of Kansas project called México Indígena met with the ire of Mexican indigenous organizations. The project’s goal was to use participatory mapping to understand public land ownership within native communities, but questions over the true purpose of the data collection and objections to its partial funding by the U.S. military turned the project into a lightning rod. Accusations of “geopiracy” indicated just how sensitive mapping—which can disrupt the balance of power and expose groups to legal proceedings and scrutiny—can be.

And then there’s the issue of bias and accuracy. When humans initiate mapping projects, says Sterling, they superimpose their personal agendas onto those maps—whether or not they are professional cartographers. Citizen-driven mapping projects might miss data points that would be considered in larger, more comprehensive initiatives with access to more expensive equipment and more professional resources.

Yes, its called politics and conflicts of interests. It’s why we have government and democratic structures. however, what about the bias in citizen data collection? Do we think that people in slums do not have a politics, or interests, or conflicts, or desires, or schemes, or do we imagine them – as this article attempts to do – as innocent, victims, and merely looking for the good? This is an untenable manufacturing of reality. Slums are as teeming with political games, place, interests, conflicts, schemes, profits, and initiatives as any other areas of city government. They are highly contested areas fraught with powerful political, financial and economic interests, and fully tied into the vision and plans of the central authorities. Governments, and particularly city governments, are deeply involved in the situation inside slums, and we would be wrong to imagine them as ignored or isolated.

Regardless, this brings me back to my original point: tools, useful, yes, but only as tools. This Smithsonian article tries to flip reality, suggesting that tools are what is important, and people merely have to enter data, and press return, and lo behold…clean water!!! All the references in the article are to other promotional articles by the very companies selling us these solutions. Quite bizarre! Our obsession – our ideology in fact, that technology trumps politics is a consequence of our exhaustion with politics. The fraying American political landscape – now reduced to corrupt and corporatised Senate and Congress, and Talking Head President, has pushed a certain class of person to hide behind the false promise of ‘innovation’ and ‘technical’ solutions. This is of course Morozov’s argument, so I will say no more.

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From “Headmen” To “Hitmen”–A People Brutalised Yet Again

Another photographer turns up at another manufactured ‘traditional’ geography, and produces another set of racist, reductive and entirely fake set of images. I don’t mean ‘fake’ in the way that most photographer’s get all concerned about. I mean ‘fake’ in a much more serious way, one that reduces people to social, political and historical caricatures and makes them into concocted objects for class titillation and voyeurism. And this American magazine–mired deep in the heart of American imperialism, its violence and its brutality–publishes the images and accompanies them with what can only be described as one of the most incredibly ahistorical, obfuscatory and infantile articles I have read outside of stuff frequently published by Time Magazine and/or The New York Times.

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Thomas Sankara’s Restless Children

The project is now complete. Although, we may never really complete the telling of this remarkable story. You can see the project by clicking on this link here, or on the image below.


Eyes Of Aliyah–Deport, Deprive, Extradite Initiative By Nisha Kapoor

I have publicly and on this forum very explicitly argued against the strange ‘disappearance’ of black/brown bodies that are the actual targets and victims of our ‘liberal’ state policies of surveillance, entrapment, drone assassinations, renditions and indefinite detention. I recently argued:

“Western visual journalism, and visual artists, have erased the actual victims of the criminal policies of the imperial state. Instead, most all have chosen to produce a large array of projects examining drone attacks, surveillance, detentions and other practices, through the use of digital abstractions, analogous environments, still life work or just simply the fascinating and enticing safety of datagrams and charts. Even a quick look at recent exhibitions focusing on the ‘war on terror’ or wars in general, have invited works that use digital representations of war, or focus on the technologies of war. An extreme case of this deflection are recent projects on drone warfare that not only avoid the actual brown/black bodies that are the targets of deadly drone attacks, but are not even produced anywhere near the geographies and social ecologies where drone attacks continue to happen! Yet, these works have found tremendous popularity, though i remain confused what kinds of conversations or debates they provoke given that the voices of the families of those who have been killed, are not only entirely missing, but people who can raised the difficult questions about the lies and propaganda that are used to justify the killings, are also entirely missing.”

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Public Release of “The Sinner”

This is my first feature length documentary film and we–Justice Project Pakistan, with the guiding support of Sarah BelalRimmel Mohydin and others at Justice Project Pakistan, are finally releasing it.

And we are doing it first in Pakistan.

The film takes us into the world of capital punishment in Pakistan through the life of one man; Jan Masi. Jan Masi worked as an execution for nearly 30 years, and claims to have executed over 1800 people. He started his work in the enthusiastic pursuit of revenge for the execution of Pakistan’s Prime Minister Zulfiqar Ali Bhutto.

This isn’t a typical documentary film. No talking heads. No linear story-telling. No polemics or moral grand standing. No righteous exclamations against capital punishment. Instead, Jan Masi, his life, his scars, his fears and despair, act as metaphors for the meaning of capital punishment in Pakistan, and the consequences it has on the broader Pakistani society.

Sudhir Patwardhan

Sudhir Patwardhan.

Can you discover ‘an influence’ after the fact?

What do you call someone who seems to embody your eye, your sensibility, and yet you had never seen his / her work, and yet, when you now see it, you see the ‘influence’…the similarities?

Is he confronting the same questions? Is he seeing this incredibly complex and multi-layered world with the same desire to depict it as close to that complexity as possible?

I was taken aback. The aesthetic pursuit is so familiar. It is as if he is a step ahead of me. He is a step ahead of me.

I am going through these images–gorgeous, striking, unique, and no, I refuse to give you some ‘European’ reference to understand them in any way. They are Patwardhan’s and his alone. But I want to make them as photographs.

They are the photographs I would make if in Mumbai. It is beautiful stuff. It makes me want to go and make photographs.

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Make It Right For Palestine, November 4, 2017

Be there. Hyde Park. Speaker’s Corner. London. 12:00 noon. 4th November, 2017.

The Polis Project…Is Up And Running

If you can’t join them, then just do it on your own.

We launched a new collective focused on research, reportage and resistance. The specific goals and objectives are being developed as we speak, but the idea is a simple one: to collect under one banner a group of individuals from different fields – artists, writers, academics, photographers, intellectuals, poets and others, who are consistently working against the grain. In this time of collective conformity, and a media sycophancy to power and extremism, some of us felt the need to create a small space where people are still determined to refuse the agendas of political power, debilitating capitalism, nationalist extremism and neoliberal idiocy, and remain fools in their hearts, and idealists in their souls.

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Short Doc: “As If A Nightmare”;The Story Of Former Bagram Prisoner Abdul Haleem Saifullah

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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Short Doc: “Prisoner 1432” – The Story of Former Bagram Prisoner Amanatullah Ali

 

We are commemorating 9/11 this week, but by remembering the ‘other’ victims of that event that few chose to remember. These are the brown bodies that rarely make it into visual media projects, that since 9/11, have chosen to hide behind digital representations, data charts, and other visual forms that do a lot, but never permit us to see or hear the brown and black people who actually suffer the consequences of drone attacks, sweeping surveillance, targeted entrapment, renditions, indefinite detentions, torture and other forms of inhumanity that today liberal minds seem to be able to easily justify.

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10 Things To Consider…

I recommend that photographers, photojournalists, documentary photographers remember these wise words by Tania Canas, RISE Arts Director / Member – I am copying and pasting it here. As brown and black bodies are stripped of their clothing, as brown and black children are dehumanised to mere misery, as brown and black women are reduced to simply victims, as ghettos and brothels and refugee camps and slums become the ‘paint by number’ formula for White photographer’s career and publishing success, it becomes increasingly important that those of us on the receiving end of White ‘largesse’ begin to build obstacles, speak back, and refuse / reject these ‘representations’ and their reductive, violent and brutal narrative frames. We have lost too much, and are in danger of whatever little we have left as humans and as histories, if we permit this process to continue.

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