Reflections upon the Meaning of Contemporary Digital Image-making Practices in India

Favero, Paolo; Battaglia, Giulia

doi:10.4324/9781003084709-15

Cited by 2 publications

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“…In the words of art critic Irina Makarova: "It not only shows how the current Kazakh government artificially revives and appropriates patriarchal narratives, but it also reinforces that the discourse of power in a new Kazakhstan must begin to include women." (Makarova 2021) The traditional authenticity claims made by political rituals and icons are undermined by digital imaging (Battaglia and Favero 2014). Musrepov, as we have seen, is not so concerned with authenticity.…”

Section: A Cleansing Ritual With a Drone And Ritualization With Computer-generated Imagerymentioning

confidence: 99%

Ritual, Ritualization, and Religion in the Work of Kazakhstani Artist Anvar Musrepov

Yessekeyeva

Venbrux

2021

Religions

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This article contributes to the study of ritual in art, which is an unconventional setting for ritual studies. It concerns ritual, ritualization, and religion in the oeuvre of the up-and-coming Kazakhstani artist Anvar Musrepov. We discuss the prayer ritual, the process of ritual erasure (by covering in black), consumption rituals, and a cleansing ritual with a drone and ritualization with computer-generated imagery. Musrepov seeks to reimagine Kazakhstani national identity. His art, we argue, draws on what Alfred Gell has called the technology of enchantment.

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Section: A Cleansing Ritual With a Drone And Ritualization With Computer-generated Imagerymentioning

confidence: 99%

Ritual, Ritualization, and Religion in the Work of Kazakhstani Artist Anvar Musrepov

Yessekeyeva

Venbrux

2021

Religions

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“…Raqs Media Collective is not alone in this activity. As I pointed out elsewhere (Battaglia , 2018(Battaglia , 2019, other independent individuals, including Nilanjan Bhattacharya (a Kolkata-based filmmaker), Venkatnarayanan Soudhamini (a Chennai-based filmmaker), Rajula Shah (a Pune-based filmmaker), Anjali Monteiro and K.P. Jayasankar (a Mumbai-based filmmakers and academic couple) and groups of artists such as CAMP (a Mumbai-based group), have also been following this direction.…”

Section: -Participatory Visual Archivesmentioning

confidence: 99%

The Digital Turn? Technological transformations in the history of documentary cinema in India

Battaglia¹

2018

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This article highlights the potential and the limitation of digital technology in Indian cultural industries, including the field of documentary cinema. While paying attention to the process of digitisation of state archival images (such as those of the Films Division in Mumbai and those of the Anthropological Survey of India in Kolkata) vis-à-vis more contemporary new forms of participatory and interactive archives such as those of Pad.ma (Public Access Digital Media Archive), this account investigates the complexities and possibilities of the moment of 'archivisation' of digital images. The goal here is not to celebrate the 'digital turn' for the creation and diffusion of documentary images in India -or, to see the 'digital turn' in a 'positivist' way. Rather, it is to contextualise and historicise the 'digital turn' by placing it in relation to the 'video turn', which occurred in India in the 1980s, and the 'telecommunication turn' (such as the arrival of portable telephones and the first emailing practices), which occurred in the subcontinent in the late 1990s and early 2000s. Through such historical reflections, this article shall finally underline the sociotechnological complexities that exist today around the 'digital' in (as well as outside) the subcontinent and the possibilities that more contemporary interactive participatory archives bring to forms of representation and communication between different cultures and societies.

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Reflections upon the Meaning of Contemporary Digital Image-making Practices in India

Cited by 2 publications

References 1 publication

Ritual, Ritualization, and Religion in the Work of Kazakhstani Artist Anvar Musrepov

Ritual, Ritualization, and Religion in the Work of Kazakhstani Artist Anvar Musrepov

The Digital Turn? Technological transformations in the history of documentary cinema in India

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