Concept Note:
  At an hour when China is deciding to rate its citizens based on digital  data records and social media is beginning to look like quasi-archives  of its users, one must return to questions of information keeping and  the archive that plague our everyday. Both Foucault and Derrida remind  us of the archive’s claim to authority, their architectural prowess, and  their claims to the production of knowledge itself. Derrida traces the  archive to its Greek roots of Arkhe as the site “..there where things  commence- physical, historical, or ontological principle- but also  according to the law, there where men and gods command, there where  authority, social order are exercised, in this place from which order is  given- nomological principle”. From the impressive Greek edifices,  archives today have come to signify any process of storing and  accumulating information, digital or analogue, electronic or otherwise,  that can be tabulated, computed and phished out when demanded.
The archive is both dogmatically transparent and astutely concealed. On  one hand, the archive organizes and stores its data with finesse,  thereby inviting its users to glean from it. And yet, the archiving  medium, made fragile by time, belies such an easy invitation. The  archive encoded through specific medium, like data servers, paper, pen,  tapes, microfilms etc., posit themselves as protecting, or concealing  material, readily available for use. This dialectic between storage and  retrieval complicates the objectives of an archive, so that every  archive must find its own synthesis between these two purposes. This  dialectic becomes all the more prominent when we view the troubled  relationship between the contemporary and the archive, between the  object’s waxing and waning in time. The contemporary, in many ways,  averts historicization. It is both what we are intimate with, and yet  remains in darkness, a relationship of profound dissonance, disjunction  and anachronism. Therefore, to archive in the contemporary then is find  ourselves in a temporal bind.
In art practice comprising visual,  cinema, theatre and performance studies, we have explored the term  “archive” through a multiplicity of methodologies. With the shift from  artist-as-curator to artist as archivist, we investigate the realm of  images (still/moving, analogue/digital, etc.) as they relate to the  archive, and how they have charted a shift away from paper-based  archives since the latter half of the nineteenth century. We study how  their forms, the systems that produce them, the modes and techniques of  perception and the circulation networks they engage in have produced a  new imagination of the archive. In this we also ask where is the archive  – are they the primary spaces from archives and museums, to newer  modalities of cloud and hard drives, or the site and the field – the  repository of all those unfound traces? With the coming of technologies  of mechanical reproduction, archives collecting audio-visual documents  such as photographs, films, videos and sound recordings are caught in  the double bind of preserving the past, and the threat of preserving too  much of it, generating only “an archive of noise”, which escapes the  control of the archons, historians or artists who use them. We are  persistently raising the question whether performance is that which  disappears or that which persists transmitted through a non-archival  system of transfer, a kind of knowing-in-the-flesh called the  repertoire. These bring about a shift in our understanding of the  archivist, who Ginzburg would now identify with the hunter, who is a  reader of obtuse signs who had to reconstruct shapes and movements of  invisible prey from detritus (foot tracks, excreta, etc.) and commit  such knowledge to motor-reflex memory.
 In a New historicist tenor  where we embrace that “the real” is never accessible as such, this  conference invites debates, performances and artwork around the spectral  presence of the archive, which we must at the same time concretize and  dissolve.
Suggested topics for these may include (though not limited to):
• Archive and the Field
• De-colonizing, de-brahmanizing and queering the archive
• Materiality of the modern archive
• Database aesthetics and the archive 
• The body and the archive 
• The artist as archivist 
• Archive and the production of knowledge 
• Memory and the archive 
• Waste/ Detritus/ Noise and its relation to the archive
• Found footage and documentary film-making
  We invite proposals from ALL disciplines, in the form of 250-300 word  abstracts or video clips or audio recordings of 6-7mins or in a visual  template(interested participants will be mailed the template). Please  mail your proposals saastudentsconference@gmail.com by 23:59 hrs. 15th  March, 2018.
 Due to paucity of funds, we would not be able to  give travel allowance to outstation candidates. However, your food and  lodging will be looked after. There is no registration fee to take part  in this conference.
