Srajana Kaikini

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.

Gopal Guru and Sundar Sarukkai’s work explores the nature of the ‘everyday social’ focusing on the particular experience of caste as a problematic ‘social’ peculiar to India. This philosophical archaeology of caste as a concept offers ways for radical cri- tique. In being ‘more interested in finding appropriate ways of talking about the social in Asia and Africa’ (p. 15) as opposed to the ‘West’, the authors strive to address the crises of displaced concepts and contexts in philosophical thinking by postcolonial cultures. Despite widespread sociological discourse on caste – the controversial social category particular to the Indian context that has been cause of complex intergenerational violence and injustice in society – mainstream philosophy has done little to examine it, making this book a much-anticipated philosophical work. At the heart of this philosophy of the social is the argument that the self is a collective concept whose agency is not as evident as is claimed by the singular notions of the self.

This research essay was published in the monograph dedicated to the first major exhibition dedicated to photography and drawings by theAkbar Padamsee in India after his demise early 2022 at the age of 91. “Searching for the present, where?...” is drawn from The Guild and some important private collections. The exhibition is a tribute to Padamsee’s commendable contribution to the Indian art. This is also the first time the photographs and drawings spanning from over a decade are contextualised in an exhibition form. Padamsee’s previous exhibition of photographs at The Guild was in 2006, titled, Akbar Padamsee, Photographs 2004-2006. This exhibition celebrates Padamsee’s cognitive pondering of body as form. Curator Srajana Kaikini delicately brings in art historical and philosophical discourses around human form and representation while delving into varied dimensions of artist’s practice. “These series of drawings and photographs speak about the body as a place of being and becoming. These are figurations, subjects set in motion. In this world view of the self, perhaps social signifiers like clothes, location, context and thinking of the body singularly may be perceived superfluous. Embodiment of the self, here, is presupposed. The interest is, therefore, to look for when and where these embodiments become present to us. While some drawings bring to us glimpses from other selves - lives enmeshed in sanchaari bhaavas (fleeting emotions), the photographic images speak in their own language trying to grow from the moment captured into new kinds of beings, creating their own sthaayi bhaavas (foundational emotions). They are not so much abstract as they are intentional – they need us to speak to them, for them to speak to us.” Excerpt from the Curatorial note by Srajana Kaikini

Philosophical traditions from South Asia conceptualised mind and body as integral entities. Embodiment of the mind as a body-mind, articulated as a sensing, thinking and acting body, is conceptually distinct from the mind-body dualism within the Cartesian framework. The case of India is further complicated from its twofold colonial heritage—British colonialism and a longstanding internal colonialism perpetuated through social categories such as caste, gender and class. Educational philosophers and social reformers such as J Krishnamurti, M K Gandhi and Savitribai and Jyotirao Phule made the body a contested site for accessing knowledge and learning. In this chapter, the relationship between embodiment, metaphysics and the social process of learning in the Indian context is explained as offering an ethical experience of education to learners.

In this paper, I explore the philosophical apprehension of the face through art history in order to signal a moment of rupture in the contemporary times of the face and its signifying relationship to the subject. Drawing from Francis Galton’s nineteenth century photographic experiments on analytical portraiture, one sees how the face when conceived as an atlas, functions very differently for the subject and its recognition than when understood as a mere image. With the advent of futuristic technology like AI and machine learning feeding in much of our technocratic imaginations, where does the face and its constituency lie? Modernist artists found in the face, various motivations of their own – it was a field to explore their own subjectivities and those inclined towards the transcendental managed to liberate the subject from its image i.e. the face. This manner of freeing the subject of its image and thinking of the face as a structure of the subject, has potential to help us imagine new kinds of polyvalent subjectivities, as can be seen in works of contemporary artist- philosophers like Hito Steyerl. This paper articulates this journey of the face which began its story as the constitutive technology of the subject in the 19th century but today find its best reckoning as an insufficient one, in our quest for understanding new post-humanist subjectivities.

Photo by Jonathan Ford on Unsplash ABSTRACT Since 2008, an average of twenty million people per year have been displaced by weather events. Climate migration creates a special setting for a duty to rescue. A duty to rescue is a moral rather than legal duty and imposes on a bystander to take an active role in preventing serious harm to someone else. This paper analyzes the idea of expanding a duty to rescue to climate migration. We address who should have the duty and to whom the duty should extend. The paper discusses ways to define and apply the duty to rescue as well as its limitations, arguing that it may take the form of an ethical duty to prepare.

The notions of risk and hazard, concepts borrowed from the natural and social sciences by way of intersectionality, have found active usage in artistic practices that address creative work in its widest possible usage. This paper will philosophically reflect on the shifts in the meanings of risk when understood in the context of artistic work. Curatorial work, for instance, is conceptually rooted in a care-based ethic, while creative work can be argued to be conceptually rooted in transcendental action. This subtle tension between curating and creating is the threshold on which risk resides. What does this mean for the artist and the curator? Key to understanding implications of risk in art is to contextualize meanings of risk in various kinds of human action. If artistic practice is that kind of human action that aims to create new experiences or understandings of our condition, then institutional approaches to risk must be tuned to this understanding of practice. Thus, blanket superimpositions of general ethical norms employed in non-artistic frameworks such as educational, scientific, or/and sociological institutions may not do justice to artistic practice. First, institutional intervention in this regard must conceptually understand the affordances and the commitments of artistic practice in order to do justice to the ways in which risk is defined in the arts. In this essay, I argue that institutions must engage with a contextual understanding of the nature of the threshold between caring and creating in order to explore a justified incorporation or risk-oriented vocabulary in artistic institutional practices.

The categorization of disasters as natural or manmade does little for our understanding of the moral stakes of institutions and collectives involved in the aftermath of disasters. This paper presents a brief account of how disasters can be understood philosophically taking cues from studies in sociology. Having articulated the gap in conceptualizing disasters, the paper argues that an interpretation of disasters as “events of social suffering,” will help foreground the complex moral and phenomenological nature of such events to prompt a more ethical response from institutions and collectives.

"Translation, as with any practice, is something to return to again and again. Opening this issue, curator and poet Srajana Kaikini’s multi-layered article, ‘The Return of the Translator’ underlines the relevance of translation as a critical process, available to anyone, in any field. Bringing in references to philosopher Sundar Sarukkai, poet Gangadhar Chittal, and Buddhist philosophical principles, she locates the place of translation. Kaikini looks closely at the ways “language and the world are in strange relation with each other,” to borrow her words. Translation as a method, she main- tains, is a matter of intention, creation, and experience." from the Editorial, Marianna Maruyama

This is a philosophical review of the exhibition dedicated to Literature – Art titled Mukhaputa (Cover page) held on occasion of the Manipal International Literature and Arts Platform 2017 in Manipal, India. The curatorial strategy of the exhibition explores the intersectional relationships between literature and visual arts at large. The context of this critical review is the recent past of modern literature journals in print that encouraged artists and illustrators to converse with literature and in turn poets and authors to be artists in their own right. Through a reflection on the nature of new forms of art works submitted by various artists to the exhibition, the review situates new methods of interdisciplinary curating which is highly contingent and speculative. Curation, thus, demands a new reading in terms of its role in interdisciplinary creative practice.

This paper undertakes an intersectional reading of visual art through theories of literary interpretation in Sanskrit poetics in close reading with Deleuze's notions of sensation. The concept of Dhvani – the Indian theory of suggestion which can be translated as resonance, as explored in the Rasa – Dhvani aesthetics offers key insights into understanding the mode in which sensation as discussed by Deleuze operates throughout his reflections on Francis Bacon's and Cézanne's works. The paper constructs a comparative framework to review modern and classical art history, mainly in the medium of painting, through an understanding of the concept of Dhvani, and charts a course of reinterpreting and examining possible points of concurrence and departure with respect to the Deleuzian logic of sensation and his notions of time-image and perception. The author thereby aims to move art interpretation's paradigm towards a non-linguistic sensory paradigm of experience. The focus of the paper is to break the moulds of normative theory-making which guide ideal conditions of ‘understanding art’ and look into alternative modes of experiencing the ‘vocabulary’ of art through trans-disciplinary intersections, in this case the disciplines being those of visual art, literature and phenomenology.