In this post, I map out major practices of consumption and circulation of video to arrive at the contemporary moment of its consumption and circulation via mobile phones, flash drives, SD cards, etc. among the users of limited technological access and economic means. My objective in mapping this history is to show how socio economic dynamics of access changed with the arrival of each media technology and form, and how the techno-social practices associated with the reception of each media form fed into and fused with the emergent practices to constantly change the social profile of media consuming public.

I am interested in reversing the gaze to explore the importance of ‘our’ personal subjectivities – the stories of the writers, researchers, artists, digital archivists and volunteers working on Partition – in order to further complicate our understanding of the postmemories of Partition. The myth of distance from our topic of interest that has traditionally been used to signify the objectivity of the writer has always been problematic, especially when the topic in question is a traumatic event that has shaped modern South Asia…

Since March this year, seven short term research fellows have been involved with The Sarai Programme and carried out various studies on digital and social media. On Saturday, October 11, we are organising a research sharing workshop for the fellows to present and discuss their works with a selected group of discussants.

The Hinglish workshop was organised by The Sarai Programme, CSDS, and SOAS, University of London. The workshop sought to explore and understand the new porousness of Hindi and English in everyday and cultural practices and the relationship between language use and social and cultural imaginaries, along lines of inclusion, stratification, and exclusion…

The January 2014 issue of BioScope: South Asian Screen Studies is now available both in print and online.

BioScope: South Asian Screen Studies invites paper abstracts for two upcoming special issues, focusing on ‘Regional Cinemas of India’ and ‘Videogame Cultures in South Asia.’ Guest editors for these issues will be S.V. Srinivas and Padmini Ray Murray, respectively.

Interested authors may send abstracts of no more than 500 words by October 15, 2014, for both the special issues. Final papers should be 6000-8000 words long and are due on January 15, 2015. All papers will be reviewed through a blind peer review process.

In the interaction with members of hate groups, what became evident was that memes served multiple purposes, depending more on the viewer’s prior knowledge of the person/event spoofed.At the same time, no one identified the term “meme” or “meming” (a relatively new term for many of my respondents) in our conversations. On the other hand, they described the act of meming as an extension of their everyday Facebook activity where it featured as what they called padam (picture) with “dialogues”… The intensity of circulation of these memes was such that even the fan’s groups widely shared memes brought out by the hate groups…

Corruption as many have pointed out, is a classic template for the ‘public secret’: that which insists on being commonly coded but cannot be enframed within official public narratives. The video sting short-circuits this logic – by hyper-playing the secretive act/gesture in loop ad nauseum across media platforms. The mundane act of corruption, otherwise part of one’s everyday, gets immediately recharged into an active moment of desecration. Institutions that aren’t routinely sacred suddenly get charged and re-sacralized when faced with the crisis of defacement. It is this ‘drama of revelation” that activates outrage (and subsequently the media event)…