The alleged politicisation of science

“Don’t politicise X” has become the defence of choice for a class of scientists and public intellectuals in India whose class and caste privilege utterly blinds them to various inequities in the practice of science – as privilege is wont to do – and who labour with the presumption that these inequities, should they miraculously become aware of a few, don’t affect what new knowledge is produced and how it affects relationships predicated on a power imbalance in the wider society.

Consider a simple example: men and women are equally capable of being good scientists, but there aren’t many women the further down the academic pipeline you go because they have been driven out by their male colleagues’ and supervisors’ sexism and misogyny. As a result, a lot of modern scientific research simply collects the results of questions that men asked and questions that the same or other men answered. This problem impoverishes the scientific undertaking by depriving it of the insights and sensibilities of a significant section of society.

The way ahead from here should not be to ‘normalise’ things because the normal has come to mean the preservation of the status quo, in terms of protecting men and safeguarding their domains as temples of patriarchy; there can be progress only with near-constant struggle and pushback, and among non-male scientists as well as non-male workers, together with their male colleagues and peers, in all endeavours of modernity. It would in turn be impossible for such a historic movement to be non-political or apolitical.

A part of the problem is rooted in the demonisation of politics, at least the label itself. ‘To politicise’ has come to mean to infuse an endeavour with partisanship where there has thus far been harmony, with incentives that suppress intelligent decision-making with the simpler algorithms of populism. However, when such harmony and intelligence are products of oppression, they must go.

A male PI’s contention that women in the lab will “distract” men – as the Nobel laureate Tim Hunt said – or that they are unlikely to be available to run experiments owing to menstruation or pregnancy should prompt us to reexamine how labs are organised, the rights and freedoms of female lab-workers, and how the university frames the relationship between labour and research, and not have us considering if women should be allowed to work in labs at all. In a different context, many Indians on discussion forums and social media platforms have recently become fond of demanding that I, or anyone else, “shouldn’t politicise space”. But space has become interesting and lucrative only because it has been politicised.

“Politics,” according to Wikipedia, “is a set of activities associated with the governance of a country or an area.” In this regard, it should seem impossible for any endeavour, no matter how small or fleeting, to remain untouched by the influence of the politics of the people undertaking the endeavour. Caste-based and gender-based discrimination are obvious manifestations of this truism in Indian society; for another, consider the following snippet from an article I (first) published in July. It summarises the extent to which public policy influences the possible trajectories of scientific careers in India:

Consider a scientist from the developing world. Let’s say he is a male, English-speaking middle-class Brahmin so we can set aside the ceaseless discrimination the scientific community’s non-malenon-Hindu/non-upper-castenon-heterosexualIndian-language-speaking members face for the sake of our discussion. The picture has already been oversimplified. This scientist has access to some instruments, a few good labs, not many good mentors, irregular funding, not enough travel grants, subpar employment prospects, insufficient access to journals, lives in a polluted city with uneven public transport, rising costs of living, less water to spare and rising medical bills. If at this juncture we reinstate the less privileged Indian in this matrix, it becomes a near-chaotic picture of personal, social, economic and political problems. Even then, it is still only the substrate upon which international inequities – such as access to samples from other parts of India and the world, information published in journals that libraries can’t afford or exclusion from the editorial boards of scientific journals – will come to bear. Finally, there is the climate crisis and its discomfiting history.

For a less obvious example: Chandrayaan 2 has been widely touted as a technological as well as scientific mission. However, in the lead up to the mission’s launch on July 22 as well as after the unfortunate events of September 7, ISRO’s focus as well as that of the people and most journalists has remained on the mission’s technological aspects. In fact, ISRO chairman K. Sivan declared on September 22 that the mission had been a 98% success when its scientific phase had barely begun – that is, that Chandrayaan 2’s scientific mission constitutes only 2% of the whole thing.

As bizarre as this sounds, these proclamations are in line with ISRO’s relatively poor track record of executing sophisticated scientific missions. This should force us to confront the political economics of science administration in India – whereby those in power have become increasingly unwilling to fund non-applied research thanks to the rising influence of populist politics and its predilection for short-term gains. This is in addition to the relationships central and state-level funding agencies have with the receivers of their money, how such money is distributed between elite and non-elite institutes, and how nationalism shields ISRO from backlash as it centralises authority and further limits public outreach.

There are many other examples to illustrate that there is no such thing as the politicisation of X inasmuch as there is either the acknowledgment of this truth or its denial. But if you are still grasping for an out, there is one. There are two broad ways to divide the public perception of what politics is: the kind concerned with the principles by which we govern ourselves as a peaceful and productive society, and the kind concerned with maximising media exposure and perpetuating the inefficiencies of bureaucracy.

The influence of the former is inescapable by design and must be guided by reason and debate; the influence of the latter is regrettable and must be rejected for its small-mindedness at every opportunity. If one takes a charitable view of those fond of saying “don’t politicise X”, one would hope that they are speaking of politics of the second variety: the dirty realpolitik and its Machiavellian ambitions. But a less charitable, and an arguably more justified, view suggests that many scientists – in India at least – lack an appreciation of the politics of principles, a politics of social justice if you will.

Indeed, it is curious that many of them, together with many non-scientists as well, often prefer a more scientistic outlook, whereby the traditionally imagined ‘scientific’ disciplines and the knowledge these endeavours supply are considered to be incontestably superior to alternatives derived from, say, sociological studies or even paralogical systems like religion and traditional beliefs. To quote the philosopher of science Paul Feyerabend, “Neither science nor rationality are universal measures of excellence. They are particular traditions, unaware of their historical grounding.” (Source: Against Method, fourth ed., p. 223.)

But modern society considers politicisation to be a greater threat than scientism whereas historians of science brim with anecdotes about how the scientific endeavour remains constantly on the cusp of being weaponised in the absence of political safeguards that regulate its practice. The ongoing nationalist project to debase non-scientific research typifies this; to quote from an older post on this blog:

… the left has been painted as anti-fact and the right [as being guided] by righteous logic when in fact this is the result of the deeper dismissal of the validity of the social sciences and humanities, which have served throughout history to make facts right and workable in their various contexts. The right has appropriated the importance of quantitative measures – and that alone – and brandishes it like a torch. … And by attacking the validity of the social sciences and humanities, the left has effectively had the rug pulled out from under its feet, and the intellectual purpose of its existence delegitimised.

Not all of us may fully appreciate how we got here, but there is no question that we are indeed here – and that the way forward must be cognisant of, if not entirely critical of, the alleged politicisation of science and the political agendas of the perpetrators of this idea.

If Rajinikanth regrets some of the roles he played, and other questions

Featured image: An illustration of actor Rajinikanth. Credit: ssoosay/Flickr, CC BY 2.0.

Read this about the Dileep-Kavya wedding and the crazy thing the groom said about the bride and why he was marrying her (protecting her honour, apparently). Reminded me of the widespread misogyny in Tamil cinema – as well as the loads of interviews I daydream about conducting with the people who both participate in and create one of my favourite enterprises in India: ‘Kollywood’. So many people have so much to answer for: fat jokes, moral policing, stalking, the so-called “amma sentiment” (nothing to do with JJ), love, superstitions, punch-dialogues, etc.

(What follows is by no means exhaustive but does IMO address the major problems and the most well-known films associated with them. Feel free to pile on.)

Fat jokes – What do actors like Nalini, Aarthi Ravi and Bava Lakshmanan feel about elephant-trumpets playing in the background when they or their dialogues have their moment on screen? Or when actors like Vivek, Soori and Santhanam make fun of the physical appearances of actors like Yogi Babu, Madhumitha and ‘Naan Kadavul’ Rajendran for some supposedly comedic effect? Or when actors like Vadivelu and Goundamani make fun of dark-skinned women?

Moral policing – Applies to a lot of actors but I’m interested in one in particular: Rajinikanth. Through films like Baasha (1995), Padayappa (1999), Baba (2002), Chandramukhi (2005) and Kuselan (2008), Rajini has delivered a host of dialogues about how women should or shouldn’t behave, dialogues that just won’t come unstuck from Tamil pop culture. His roles in these films, among many others, have glorified his stance as well and shown them to reap results, often to the point where to emulate the ‘Superstar’ is to effectively to embody these attitudes (which are all on the conservative, more misogynistic side of things). I’d like to ask him if he regrets playing these roles and the lines that came with them. I’d be surprised if he were completely unconcerned. He’s an actor who’s fully aware of the weight he pulls (as much as of his confrontation with the politician S. Ramadoss in 2002, over the film Baba showing the actor smoking and drinking in many scenes, from which he emerged smarting.)

(Oh, and women can’t drink or smoke.)

Misogyny – Much has been written about this but I think a recent spate of G.V. Prakash movies deserve special mention. What the fuck is he thinking? Especially with a movie like Trisha Illana Nayanthara (2015)? Granted, he might not even had much of a say in the story, production values, etc., but he has to know he’s the face, the most prominent name, of the shitty movies he acts in. And I expect him to speak up about it. Also, Siva Karthikeyan and his ‘self-centred hero’ roles, where at the beginning of the plot he’s a jerkbag and we’ve to spend the next 100 minutes awaiting his glorious and exceptionally inane reformation even as the background score strongly suggests we sympathise with him. Over and over and over. What about the heroine’s feelings? Oh, fuck her feelings, especially with lines like, “It’s every woman’s full-time job to make men cry.” Right. So that’s why you spent the last 99 minutes lusting after her. Got it. Example: Remo (2016).

Stalking – This is unbelievably never-endingly gloriously crap. And it’s crappier when some newer films continue to use it as a major and rewarding plot-device, often completely disregarding the female character’s discomfort on the way.

Respect for mothers – I hate this for two reasons. In Kollywood pop culture, this trope is referred to as “amma sentiment” (‘amma’ is Tamil for ‘mother’). It plays out in Tamil films in the form of the protagonist, usually the male, revering his mother and/or mothers all over the place for being quasi-divine manifestations of divine divinity. It began with Kamal Haasan’s Kalathur Kannamma in 1960 (though I’m not going to hold that against him, he was 6 y.o. at the time) and received a big boost with Rajinikanth’s Mannan (1992). But what this does is to install motherhood as the highest possible aspiration for women, excising them of their choice be someone/something else. What this reverence also does is to portray all mothers as good people. This it delegitimises the many legitimate issues of those who’ve had fraught relationships with their mothers.

The Moment When Love ‘Arrives’ – Stalking-based movies have this moment when Love Arrives. Check out the cult classic Ullathai Allitha (1996), when Karthik Muthuraman forces Rambha to tell him she loves him. And then when she does, she actually fucking does. The Turn is just brutal: to the intelligence of the female character, to the ego of the male character (which deserves only to be deflated). But thanks: at least you’re admitting there’s no other way that emotional inflection point is going to come about, right?

Endorsement of religious rituals/superstitions/astrology – Sometimes it’s frightening how casually many of these films assume these things are based in fact, or even in the realm of plausibility. Example: DeMonte Colony (2015), Aambala (2015), Aranmanai (2014), Sivaji (2007), Veerappu (2007), Anniyan (2005), etc.

Punch dialogues – Yeah, some actors like Vijay, Dhanush, Ajith, even Siva Karthikeyan and *cough* M. Sasikumar of late, deliver punch dialogues on screen to please their more-hardcore fans. But the more these dialogues continue to be developed and delivered, aren’t the actors and their producers also perpetuating their demand of mind-numbing levels of depersonalisation from the audience?

Obsession with fair skin – Apart from the older fair-and-lovely criticisms, etc., some movies also take time out to point out that an actress in the film is particularly fair-skinned and deserves to be noticed for just that reason. Example: Poojai (2014), Maan Karate (2014), Kappal (2014), Goa (2010), Ainthaam Padai (2009), Kadhala Kadhala (1998), etc.

Circlejerking – The film awards instituted by the South Indian film industries are like those awards given to airports: a dime a dozen, no standardised evaluation criteria and a great excuse to dress up and show off. On many occasions, I’ve felt like some of the awardings might’ve better served the institutions that created them if they weren’t given out in a particular year. Another form of this circlejerk is for a mediocre or bad film to have multiple throwbacks to its male protagonist’s previous films and roles.

Miscellaneous WTFs

Manadhai Thirudivittai (2001) – For completely rejecting the idea that a woman has feelings or opinions about something that affects her

Endrendrum Punnagai (2013) – For a male protagonist who never feels the need to apologise for his boneheadedness and its emotional impact on other people

Kaththi (2014) – For portraying a female lead prepared to be part of a strike that cripples an entire state but is okay being slapped by random people

The actor Santhanam – I’ve always found that Tamil cinema’s comedians and comediennes are among the industry’s best actors, and Santhanam is no exception. He’s been extremely successful in the last five years, and it’s been evident of late that he now wants to make it big as a hero. Good luck! Except what hurts is that he’s trying to be the painful-to-watch hero: engaging in stalking, delivering punch-dialogues, telling women what they should or shouldn’t do, etc.

It is as the art critic John Berger wrote in Ways of Seeing (1972) – with the following prefix: “In most of Tamil cinema…”

… men act and women appear. Men look at women. Women watch themselves being looked at. This determines not only most relations between men and women but also the relation of women to themselves. The surveyor of woman in herself is male: the surveyed female. Thus she turns herself into an object – and most particularly an object of vision: a sight.