Mirum Quazi applies Maurice Merleau-Ponty’s “Theory of Embodiment” and its articulation of “Return to the Body” to the act of artmaking. In the process, the writer demonstrates how Merleau-Ponty’s ideas about the “embodied self” can be understood and appreciated by taking artmaking as a prime example to explain such core ideas from Merleau-Ponty’s great philosophical contributions to phenomenology.
Mirum Quazi specializes in film studies, theory and criticism. He previously studied humanities at Amar Singh College. Apart from being a film buff he has a keen interest in philosophy and literature, in particular Russian literature. He spends his time analyzing films and studying the visual language and aesthetics of scenes from a variety of films from all over the world. In his free time, he works on independent film, documentary and photography projects.
Mirum Quazi provides a few meditations on cinema, visual culture and the applications of the field in a Kashmiri context. In particular, he explores the possibilities of a distinctive visual language that is developed within Kashmiri culture itself.