The two works, the textual and the visual, complement each other ad infinitum et ultra or at least till a touristic aesthetic continues to be employed to cover up the traces of a structural violence that runs deep within the land, far away from the superficial glamour and paradisaical allure that Kashmir accumulates from the oblivious and willfully oblivious tourist and visitor.Īll of the exclusive content related to or about Kashmir that is published by Inverse Journal in-house is the sole responsibility of its editor, Amjad Majid, and not the creators, authors and contributors of such content. Meanwhile, Bhat’s poem reinvigorates through the power of the verse that counter-aesthetic employed by Naqshbandi in his image-making.
#Ad infinitum et ultra series
Needless to say, Naqshbandi’s series merits deeper critical commentary of its own. In the case of Omair Bhat’s poem “Growing tulips…”, we find a “match made in heaven” when it comes to the evident dialogical manner in which the poem reads in perfect metaphorical and allusive harmony with Naqshbandi’s ‘image as response’ to the ‘touristification’ of Kashmir’s tulip garden. As both works show, in this particular case, their parallel vertical scale allows for a greater depth required for the process of excavation, whether that entails the retrieval of a greater meaning or the uncovering of an interred truth. For this reason, the poem and the image are displayed side by side in vertical opposition to the horizontally aligned landscape depictions that Kashmiris are all too familiar with, especially in ads. Naqshbandi’s work does something similar, running vertically and in opposition to the horizontally placed billboard ads that run freely throughout Kashmir’s roads and highways. The two works, the textual and the visual, complement each other ad infinitum et ultra or at least till a touristic aesthetic continues to be employed to cover up the traces of a structural violence that runs deep within the land, far away from the superficial glamour and paradisaical allure that Kashmir accumulates from the oblivious and willfully oblivious tourist and visitor.Īs an added bonus, Bhat (re)innovates on the idea of the title of the poem as its first verse, requiring the suspension of certain editorial conventions and demanding more attention from readers, from the uneven cadence of the first line to the last.
In the case of Omair Bhat's poem “Growing tulips…”, we find a “match made in heaven” when it comes to the evident dialogical manner in which the poem reads in perfect metaphorical and allusive harmony with Naqshbandi’s ‘image as response’ to the ‘touristification’ of Kashmir’s tulip garden. There are other examples to such artistic productions in circulation, with paintings and contemporary artworks depicting the rural environs and the cityscape being obstructed from their usual serenity by excrescent imagery of militaristic objects invading the frame from a particular angle or corner. One of the precursors has been a series of works (“There is more to…”) produced by artist, designer and political cartoonist Suhail H. "The perimeter of a fractal may be iteratively drawn ad infinitum.In the contemporary Kashmir of the artist and the poet, a counter-aesthetic has been developed to resist against the glamorous and synthetically beautified portrayal of the land as an idyllic Bollywood destination for tourists.It may also be used in a manner similar to the Latin phrase et cetera to denote written words or a concept that continues for a lengthy period beyond what is shown. In context, it usually means "continue forever, without limit" and this can be used to describe a non-terminating process, a non-terminating repeating process, or a set of instructions to be repeated "forever," among other uses. For the logic fallacy, see Ad nauseam.Īd infinitum is a Latin phrase meaning "to infinity" or "forevermore". For the short-lived British musical group, see Ad Infinitum (band). For the symphonic metal musical group, see Ad Infinitum (symphonic metal band).
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