hexagonalviews

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First, man took a step back from his life-world, to imagine it. Then, man stepped back from the imagination, to describe it. Then, man took a step back from the linear, written critique, to analyze it. And finally, owing to a new imagination, man projected synthetic images out of analysis.

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Ebbing Away Of Identity With The Tides | Sushavan Nandy

We know what we are, but not what we may be. The quote from Hamlet gets personified in the islands like Mousuni, Ghoramara and Sagar. These islands located in the Gangetic delta region are disappearing and so are the people who have lived here. The very river they hold sacred, is now encroaching, engulfing, devouring the land with each tidal flood. The villagers are not aware what climate change is, they are unaware of the term “sea level rise”, but their lives are the very testament to it. They have lost the courtyard where they have played, they have lost the trees from which they used to swing in their childhood, they have lost the bed where they made love. As the land beneath their feet got washed away, they have lost their roots. Some of them migrated and got lost in the bonds of bonded labourers, while others re-built their homes only to see the walls crumble a few years later. The already unknown people of these lonesome islands are spending one day at a time, unsure of their own identity. It is not a easy feeling to see your home, your land, your place which has witnessed generations of a family’s history, get disappeared without any fault of their own. It is like getting uprooted and getting your legacy, your identity dissolved among waves and winds.

The saline water destroyed the farms. Peasants had to weave up fishing nets. Later when they had no place to hang them dry, they had to leave. Many women even do not have that luck to escape. Many of them who had took a boat ride one day to these islands, with a dream of a happy married life, now live a lonely sorrow life as their husband left her side and the sinking land mass to earn livelihood elsewhere. It is said that “who we are is who we were”. But one will find an exception to that here on these islands. They know who they were, but they don’t know who they are and who they will be. Their lives are floating over invading waves, floating just enough high on a wind that has no steady direction.

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zine - the series has just been released as a limited edition zine in our ‘Field Notes’ series. Edition of 100 and just £8 each… still a few left!

All images & text © Sushavan Nandy

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Everything acts as a screen. It is firstly for this reason and as such that we live among screens – that is, this is, in a way, how it has always been. The totem and the transitional object, as well as the fetish, are screens – that is, supports of projections that conceal [dissimulent]. But digital screens, like those of Samsung, for example, or, again, those today being designed by Amazon and Netflix, these screens, which are simultaneously electric, electronic, optoelectronic and more and more frequently tactile, are now what both support and occlude the question of the totality of the future, and of the future as totality, and they do so as the fulfilment of nihilism – as well as being what, alone, make it possible to imagine something beyond this fulfil- ment of nihilism.

Bernard Stiegler, The Neganthropocene 

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Ed Ruscha, Twentysix gasoline stations, 1963

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Images are mediations between the world and human beings. Human beings 'ex-ist', i.e. the world is not immediately accessible to them and therefore images are needed to make it comprehensible. However, as soon as this happens, images come between the world and human beings. They are supposed to be maps but they turn into screens: Instead of representing the world, they obscure it until human beings' lives finally become a function of the images they create.

Villem Flusser, Towards a philosophy of Photography

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Architecture by Antonio Sant’Elia

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Review and critique of “The last of the Nuba” from Susan Sontag - "Fascinating Fascism" (1975)

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Beautiful photo book "The last of the Nuba" (1974) from the controversial film director / photographer Leni Riefenstahl.

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Nobuyoshi Araki working in the Bathtub 

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