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The Grand Tapestry of Ideas Unfurls: Jaipur Literature Festival Unveils Third List of Visionary Speakers
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● Third List of Speakers Announced: Third tranche of 25 speakers announced - The Festival announced its third list of 25 speakers out of over 300 speakers expected to attend the 2024 edition. The third list features Amod K. Kanth , Arun Maira, Badri Narayan, Daisy Rockwell, Daniel Hahn, Guillermo Rodríguez, Gurucharan Das, Ivy Ngeow, Kal Penn, Katherine Rundell, Koël Purie Rinchet, Louise Kennedy, Manju Kapur, Matthew Parker, Miranda Seymour, Monica Ali, Naushad Forbes, Peter Frankopan, Peter Moore, Philip J. Stern , Reshma Ruia, Richard Osman, Sanjay Jha , Sudha Murty, Yatindra Mishra
The annual and iconic Jaipur Literature Festival announced its third list of speakers for the much-awaited 17th edition, set to take place from February 1 - 5, 2024 at Hotel Clarks Amer, Jaipur. As the just-released list shows, the Festival will once again be a grand marathon of ideas between writers, thinkers, idealists, realists, visionaries, intellectuals, avant-garde practitioners and the iconoclasts, all of whom will engage in informed discussion, united by an abiding love for literature.
The third list of 25 speakers includes Amod K. Kanth, a prominent Indian social entrepreneur and activist with a parallel illustrious career as an IPS officer. His books include Khaki in Dust Storm: Police Diaries Volume-1’ and ‘Khaki on Broken Wings: Police Diaries Volume - 2; Arun Maira, former Member of India’s Planning Commission, Chairman of BCG India, Chairman of Save the Children India, and Chairman of Help Age International and author of the latest Shaping the Future: How to Be, Think, and Act in the New World; Badri Narayan, Sahitya Academy Award winning poet who’s poems have been translated into English, Bengali, Oriya, Malayalam, Urdu and many other Indian languages; Daisy Rockwell, artist and International Booker Prize winning translator, along with author Geetanjali Shree, for her translation of Shree’s Hindi novel, Tomb of Sand; Daniel Hahn, Booker International Prize shortlisted writer, editor, and translator, winner of the 2023 Ottaway Award for the Promotion of International Literature; Guillermo Rodríguez, author of When Mirrors Are Windows: A View of A.K. Ramanujan’s Poetics and co-editor of Journeys: A Poet’s Diary by A.K. Ramanujan and founding director of Casa de la India, a pioneering cultural centre in Spain; Gurucharan Das, former CEO of Procter & Gamble and author of his memoir Another Sort of Freedom; Ivy Ngeow, Malaysian-born, London-based author of The American Boyfriend, longlisted for the Avon x Mushens Entertainment Prize for Commercial Fiction Writers of Colour 2022.
The list continues with Kal Penn, actor, writer, former White House staff member and author of recently released memoir, 'You Can't Be Serious; Katherine Rundell, author of Super-Infinite, which won the Baillie Gifford Prize, and The Golden Mole and Other Vanishing Treasure; Koel Purie Rinchet, award-winning Indian actress, producer and writer of Clearly Invisible in Paris; Louise Kennedy, author of the Women's Prize shortlisted novel, Trespasses, which also won the McKitterick Prize, the An Post Irish Novel of the Year Award and the British Book Awards Debut Novel of the Year; Manju Kapur, Commonwealth Prize winning author of the novel Custody which was made into one of Balaji’s longest running serials; Matthew Parker author of The Sugar Barons and Goldeneye: Ian Fleming’s Jamaica and his recent, One Fine Day: Britain's Empire on the Brink; Biographer, novelist, memoir writer and critic Miranda Seymour, author of the award-winning memoir In My Father's House: Elegy for an Obsessive Love and recent biography I Used to Live Here Once: The Haunted Life of Jean Rhys; Monica Ali, bestselling author of five books: Brick Lane (Shortlisted for the 2003 Booker Prize), Alentejo Blue, In the Kitchen, Untold Story and Love Marriage.
The Festival will also feature Naushad Forbes, Co-Chairman of Forbes Marshall, India's leading Process and Energy Efficiency Company. His recent book is The Struggle and the Promise: Restoring India’s Potential; Peter Frankopan, Professor of Global History at Oxford University and author of The Silk Roads: A New History of the World; The New Silk Roads: The Present and Future of the World; and The Earth Transformed: an Untold History; Peter Moore, Sunday Times bestselling author of The Weather Experiment and Endeavour; Philip J. Stern, historian of the British Empire and the author of the award-winning book The Company-State and the latest Empire, Incorporated; Reshma Ruia, British Indian writer of the award-winning novel Still Lives; Richard Osman, author, producer and television presenter and bestselling writer of The Thursday Murder Club series; Sanjay Jha, Executive Director of Dale Carnegie and a former National Spokesperson for the Congress Party; Sudha Murty, Founder of Infosys Foundation, one of the first women engineers to start her career at TELCO (now Tata Motors), a prolific writer in English and Kannada; Yatindra Mishra, writer, columnist and cultural icon has worked extensively on the heritage of Indian music.
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about Srinivasa Ramanujan You should know about these 10 facts
केवल 32 साल की उम्र के भारतीय गणितज्ञ Srinivasa Ramanujan ने गणित में संख्या सिद्धांत में क्षेत्र में कई अद्भुत आविष्कार किए। श्रीनिवास रामानुजन के बारे में और उनके जीवन के बारे में जानेंगे इस about Srinivasa Ramanujan history ब्लॉग से और biography के रूप में से समझेंगे।
about Srinivasa Ramanujan short biography about Srinivasa Ramanujan
Barth death > 22…
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Movie Recs
Manichitrathazhu (1993) An incisive commentary about the history of women’s oppression, mental illness and family secrets.
Adhey Kangal (1967) A well-done, old-fashioned mystery that’s worth watching for the historicity and cinematography. It’s one of my favorite old movies.
Mahanati (2018) A biopic about a famous actress whose life is one long sordid mess. Themes of lost innocence, etc. The Man Who Knew Infinity (2015) They kind of polished over some of the eccentricities and drama of Ramanujan’s life, but it’s still a good watch.
Thuparivaalan (2017) An Indian take on Sherlock Holmes. Super cheesy, and with some masala elements, but overall amusing. Mysskin cannot write women to save his life, but what can you do?
Deiva Thirumagal (2011) The story of a man with cognitive disabilities and his efforts to provide for his daughter and her education.
I recently received a message inquiring if I have any movie recommendations. These are the ones I came up with off the top of my head. If you have any you want me to add, feel free to message me. I don’t watch a lot of Hindi movies, so...
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New Post has been published on https://toldnews.com/world/why-is-a-2500-year-old-epic-dominating-polls-in-modern-india/
Why is a 2,500-year-old epic dominating polls in modern India?
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Many Hindus see the Ramayana’s protagonist, Ram, as a hero
With the Indian general election under way, the Ramayana, a 2,500-year-old Hindu mythological epic, is back in the spotlight. The BBC’s religious affairs reporter Priyanka Pathak explains why.
This year, like in previous elections, the conversation among many hardline Hindus has returned to the epic Ramayana and its protagonist, Ram.
A longstanding demand to construct a temple in the northern city of Ayodhya – a key point of tension between Hindus and Muslims – which Hindus believe is Ram’s birthplace, has become louder in recent months.
Hardline Hindus want the temple built on the same spot where a 16th Century mosque was demolished by Hindu mobs in 1992. They believe the Babri mosque was built after the destruction of a Hindu temple by a Muslim invader.
India’s Ayodhya site: Masses gather as Hindu-Muslim dispute simmers
The governing Bharatiya Janata Party (BJP) has promised, once again, to reconstruct the Ram Mandir (temple) in its election manifesto.
Like in previous elections, they hope that this pledge will draw in more Hindu voters. They also organised Hindu religious festivals on a grand scale in the lead-up to the polls.
On 12 April, a large gathering of right-wing organisations was held at the iconic Ram Lila Maidan, a sprawling ground named after the god in the centre of the capital, Delhi, to celebrate “Ram’s birthday”.
People dressed in saffron robes wielded swords as they chanted “Jai Shree Ram”, which translates from the Hindi to “Hail Lord Ram”. They shouted slogans, reiterating their promise to Ram that they would reconstruct the temple.
What is the story of the Ramayana?
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The epic tells the story of Ram, a beloved prince who is unaware of his own divinity
On the eve of his coronation, he is banished from his kingdom for 14 years by his father at the behest of his stepmother
With his wife, Sita, and brother, Lakshman, he wanders through India’s forests – until the 10-headed demon king Ravana abducts Sita
Ram then fights and defeats Ravana to rescue Sita after which he establishes a just kingdom
The story of Ram’s pursuit of righteousness has made him a symbol of self-sacrifice and heroism for many Hindus
He is why this epic remains potent and has dominated India’s political discourse
Experts believe that the movement to build the temple, spearheaded by a powerful Hindu nationalist organisation called the Rashtriya Swayamsevak Sangh (RSS), has helped craft some sort of a collective Hindu identity in India.
This idea is something that the RSS, the ideological fountainhead of the BJP, has cultivated since the 19th Century.
However, the movement found its zeitgeist moment only a century later.
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People in Ahmedabad city sitting along the road and watching a television series on the Ramayana
Several things happened almost concurrently during the late 1980s. First, a television show on the epic reminded 80 million viewers of the story and rekindled a love for its hero.
The serial broadcast a standardised story of the Ramayana, pulled together from many versions and variants. There is no official version of this sprawling epic although historical scholars consider the version by Valmiki, a sage and Sanskrit poet, to be the most authentic.
But really there are as many as 3,000 retellings of the story in around 22 languages, including some that eulogise Ravana while others say it was actually Ram’s brother Lakshman who killed the demon king.
India votes 2019
But what the television show did was give India a single narrative of the Ramayana. It also gave a single religion to a country “that was diverse and plural and included many different ways to be Indian”, says Arshia Sattar, a doctorate in south Asian languages, who has translated Valmiki’s Ramayana from Sanskrit into English.
The second big moment came in the late 1980s, when the Congress party led by Rajiv Gandhi – which has always styled itself as secular – decided to lay the foundation stone of the temple in Ayodhya with the help of Vishwa Hindu Parishad (VHP), a right-wing outfit, to woo Hindu votes in a close election.
The plan didn’t work – instead, it paved the way for the BJP, still a young party at the time, to seize what they saw as an opportunity to galvanise Hindu voters.
In September 1989, the party’s then president LK Advani launched a nationwide march for the temple. Bricks began to move from around India for the construction of the temple. The campaign was successful in mobilising communal sentiments and set in motion a series of events that would result in the demolition of the mosque. This, in turn, triggered nationwide riots.
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Hindu activists are demanding the construction of the Ram Temple
But in the next elections, the BJP swept the polls. From that moment forward, the party – which was 12 years old at the time – became a national heavyweight.
It took its place as either the party leading the ruling government alliance or as the leading opposition party. For the BJP, the Ayodhya issue became a way to consolidate Hindu votes – something that used to be fragmented along caste lines.
This now well-known version of the epic, championing Ram, also became a convenient point for other Hindu organisations to rally around. This meant that other versions of the epic began to be stamped out.
For instance, in 2011, a Hindu nationalist student union and other affiliated right-wing groups succeeded in forcing Delhi University to drop an essay by the late poet and Ramayana scholar AK Ramanujan, which questioned how many versions of the epic existed, from its history curriculum.
“This may have been part of the general climate of intolerance and the battle over who had the right to tell the country’s history and its myths that was part of the Indian landscape between the 1980s and the 2000s,” literary critic and author Nilanjana Roy wrote of the incident in her blog in 2011.
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Ram fights and defeats the ten-headed demon Ravana in the Hindu epic
But for hardline Hindus, the cultural loss of other versions is simply collateral damage.
They believe that a sort of Hindu renaissance can be built around the epic, allowing Hindus to band together and revive their religion as a way of life that they believe was lost and can be re-established.
For instance, in September 2017, the Uttarakhand state minister for alternative medicine, proposed spending $3.6m (POUND) to find Sanjeevani – a mythical, glow-in-the-dark herb, described in the epic as having saved Ram and Lakshman from certain death.
The deputy chief minister of Uttar Pradesh has also suggested that science was so advanced during the time of the Ramayana that Sita was actually a test-tube baby. And the vice chancellor of an Indian university has claimed that Ravana, had a fleet of airplanes.
A series of such examples from Indian politicians and scholars can be seen as an attempt to bolster pride in the mythological epic. But they also evoke a nostalgia for a grand past, reawakening hope for a future that repeats the great feats of distance ancestors.
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Understanding India’s streaming platforms industry in the context of lockdown
New Post has been published on https://apzweb.com/understanding-indias-streaming-platforms-industry-in-the-context-of-lockdown/
Understanding India’s streaming platforms industry in the context of lockdown
In the book Folktales From India—a precious contribution to Indian culture—poet, and an authority on Indian aesthetics A K Ramanujan narrates a South Indian folktale. The folktale is called Losing a Self. It is a story of a Guru and his twelve idiot disciples. They want to cross a river. But the river is treacherous. They wait for some time. After making a firm resolve, they cross the river. As they reach the other end, a disciple starts counting to ascertain whether all were able to cross the river. He counts everyone except himself. All believe that one person died while crossing the river. But they are unable to figure out who died. A magician passing by listens to their problem patiently. He reassures them that he will solve this conundrum. He asks a disciple to bring cow dung and make a long line of cow dung. After asking all to stand in a row in front of the cow dung line, he asks all to bend down and press their noses in the dung. He asks them to count the number of dents in the cow dung. They unanimously agree that the number is thirteen and realise no one has died while crossing the river. In an allegorical sense, this folktale—like many folktales which have a certain amount of truth in them—reflect an inveterate tendency in entertainment industry to spell doom for cinema and theatre every time a ‘new avenue’ of entertainment gains high acceptance among viewers.
In almost every evolutionary phase, it is assumed that a new avenue of entertainment will make the old or already existing avenues of entertainment irrelevant or unprofitable. It started with the advent of television. This was followed by huge acceptance of cable television and watching films at home by renting movies from video library, proliferation of private television channels, and Direct-To-Home (DTH) services. Throughout these phases, a constant concern is piracy, which still persists. And now, the latest threat or a concern is increasing acceptance of streaming platforms as a serious contender which can jeopardise the existence of theatre and the way we watch cinema or consume content. These observations have found more relevance in the context of lockdown which has made a large section of viewers realise the power of streaming platforms in providing engaging and entertaining content.
Sector experts believe that because of potential threat of contracting with the Coronavirus, people may avoid group engagement activities such as watching films in theatre for a long time. Considering this fact, producers are releasing films slated to be released in theatres on streaming platforms. Given these new realities, a few key questions which have popped up in minds of experts and viewers are: Will streaming platforms define the way we watch films as more and more films are being released on these platforms? Will theatre lose its relevance as the costs attached to watching a film in theatre are not economical in comparison with watching a film on a streaming platform in a well-equipped surround sound home-theatre environment? What exactly has happened with the advent of streaming platforms to other avenues of entertainment in India? And most importantly, like the South Indian folktale, will streaming platforms co-exist with the old or already existing avenues of entertainment such as television and theatre? Let us understand these aspects in detail:
The rising wave
For a long time before private channels proliferated, viewers shared a common experience of watching serials on the government-sponsored channel Doordarshan. These serials had substance, entertainment value and a certain touching simplicity of presentation which had elements to make them stuff of nostalgia. Even today these serials are re-watched with the same fervour and warmth as they were watched when they were shown on Doordarshan. From mid-1980s, serials such as Hum Log, Buniyaad, Nukkad, Ramayan, Mahabharat, Byomkesh Bakshi, Vikram Vetal, Trishna, Oshin and Kirdaar showed that in a limited episode format one could entertain and appeal to a wide and vast audience. These serials were based on literature, true events, original ideas and mythology. In a clear sense, these very ingredients make streaming platforms a unique offering today. The experience of watching serials in the mid-1980s on Doordarshan has been almost similar to what today’s audience experience watching web series on streaming platforms. The only difference is web series on streaming platforms have better production value than the serials on Doordarshan. This aspect may give a sense of novelty to what streaming platforms have to offer.
In the mid-1990s, things changed drastically. A large number of private channels were launched as the power of television as a medium of reaching out to a wide audience was acknowledged and recognised by producers and advertisers. Television provided a viable economic model of making money for creators and investors. This resulted in what usually happens when too many players enter an industry. When a structure and the costs associated with that structure are not so high, creative freedom is also high. Such structures are congenial for creating artistic content. But when structures grow and evolve as more players enter and compete, creative freedom gets sacrificed and more importance is given to the viability of the content. In such a structure, ‘science’ prevails. The focus shifts to creating serials which can be elongated and are not tight enough from providing wholesome and meaningful entertainment in limited episode format. This is because such a structure is remunerative for producers in terms of television rating points and hence, advertisements. Consequently, serials became imitative and monotonous. This brought division in categories of audiences.
The audience which craved for wholesome, meaningful and thought-provoking entertainment was utterly ignored. Infrequently, this audience satisfied this taste from films or some serials which showed the promise of good entertainment in the early phase but subsequently conformed to the format dictated by market forces. This created division among audiences and it became clear to advertisers that the target audience for general entertainment content on television will be non-working women and men will be interested in sports and non-entertainment channels.
Over the years, a few categories of audiences, which already existed, exhibited their distinction in the way they watched content. These categories showed a clear trend how content will be consumed in theatre as content on television became extremely formulaic, imitative and sterile. Broadly speaking, six categories of audience emerged in the two decades. Firstly, there is an audience of evolved taste. They are nothing but discerning audience. They have access to information and they understand what they like and what they don’t like. This category basically is a torrent audience who download films from the internet. Then, there is an audience which, largely, catches up with others around them. This audience gets disappointed far often than the evolved audience because it goes to theatre more often than the audience of evolved taste. Then, there is urban audience which just seeks pure entertainment. This audience does not have keen interest in cinema. They don’t have any viable and equally interesting means or avenues of entertainment on weekends. For them, going to theatre for a film is a family outing. This ritual borders on discharging family duty of taking care and being considerate towards wife and kids.
This category is followed by lower middle class, which is the staple audience for Hindi movies. This audience has sustained the formula on which the juggernaut called Hindi cinema has been established. A film which merges known tropes without making it esoteric and presenting it in a fresh way is an event for this audience. Watching films in theatre is a strict ritual for this audience because it is like a spiritual ceremony in dark which gives them intense happiness. This is the most stable theatre goer. The fifth category is the audience which is in tier-II and tier-III cities. This audience in tier-II and tier-III cities is driving revenues at the box office because of two reasons. One, multiplexes have expanded in these locations rapidly in the past five years as space constraints and rising costs in cities make expansion outside metros more feasible and viable. Two, audiences in tier-II and tier-III believe the ritual of going to multiplexes as one of the ways they catch up with city-dwellers. And lastly, there is rural audience which is undemanding and is content with what comes its way.
Increasing predictability of content on television, rising ticket prices, economical internet packages (the launch of Jio services has played a critical role in this), exposure and understanding of well-written and superbly executed English and non-English content from the west, easy access to films through piracy and most importantly, the freedom to watch content at one’s subjective pace and convenient time without the patience-testing advertisements sowed the seeds for a much-needed space for an offering for the audience with evolved taste. Streaming or Over The Top (OTT) platforms filled up this space in the past five years.
Today, in India, there are close to thirty-six streaming platforms which are owned by Indian companies. Apart from these, there are global streaming platforms such as Netflix, Amazon Prime Video, and Disney+Hotstar.
Since the lockdown it is clearly evident that the awareness and importance of streaming or OTT platforms has increased. According to various estimates and reports, there has been jump of 8-100% in subscribers’ addition of major OTT platforms. According to industry experts, the lockdown has helped OTT platforms secure new subscribers. Even the average age of the subscribers’ universe has increased. Film-maker Shivdarshan Sable says, “I think this is clearly evident that the lockdown has been a blessing in disguise for streaming platforms. Earlier, the average age of the subscribers’ universe might be less than 30. Due to lockdown, I think the average age of the subscribers’ universe has gone up. I am certain that today a fair share of the new subscribers added will be in the age group of 35-55.” This means that there are an increasing number of people who are acknowledging the engaging and superior production value of the content offered up by streaming platforms.
The recent flurry of release of Hindi films on streaming platforms also add to their increasing importance as it shows that producers have acknowledged the potency of these platforms in distributing content and reaching out to a large universe of viewers. Amazon Prime Video has acquired seven Bollywood and regional films. A noteworthy aspect about this flurry of release is they also include films boasting big stars and well-known directors and producers. A case in the point is the film Gulaabo Sitabo. Well-established and critically-acclaimed director Shoojit Sircar directed the film which has successful pairing of the man with a Midas touch Ayushmann Khurrana and Amitabh Bachchan.
Is there an impact?
Now, in this context of the increasing importance of streaming platforms among viewers and producers for content consumption and distribution, one needs to understand whether business in television or theatre affected.
Gauging the pattern of how television and streaming platforms are providing content, it is evident that television and streaming platforms feed into each other. It has been observed that the content generated by television finds its place in the catalogue or offerings of streaming platforms also. The famous TV series Kyunki Saas Bhi Kabhi Bahu is available on streaming platform Disney+Hotstar. It is also observed that broadcast-backed streaming platforms show the content of their streaming platforms on their respective channels. For instance, the content of Zee5, a streaming platform of Zee Entertainment Enterprises, is being shown on its channels also and vice versa. This aspect of feeding into each other is likely to prolong the relevance of television and quell any kind of panic-driven knee-jerk assumption that streaming platforms will kill television.
Besides this, television will serve its purpose in different ways. The emergence of Smart Television with surround sound home theatre facility gives a new purpose of watching content of streaming platforms on television. Also sporting events which require bigger screen than mobile devices will also justify the existence of television. Most importantly, India’s infrastructure will provide longer life for television to exist because broadband and telecommunications connectivity are yet to penetrate deeper in locations beyond tier-II and tier-III cities. This is evident from the fact that one of the most highly watched series during lockdown period was the re-run of the serial Ramayan on DD National. This indicates that there is no threat for TV from streaming platforms.
Even as regards theatre, streaming platforms have not been a threat to their business model. It has been more than five years global streaming platforms have entered into India. And encouraged by them, television channels launched their own streaming services. In the past five years, there has been no impact on footfalls in theatres. Footfalls in two major multiplexes such as PVR and Inox Leisure have grown in this period. Footfalls in PVR and Inox Leisure grew to 99.4 million and 62.5 million respectively in FY19 from 59.9 million and 38.6 million respectively in FY14. Also an analysis of financial performance of these multiplexes before the advent and after the advent of streaming platforms (FY14) shows that there has been reasonably good growth in revenue per screen before and after FY14.
Revenue per screen for Inox increased to Rs2.9 crore in FY19 from Rs2.6 crore in FY14. Similarly, for PVR, revenue per screen increased to Rs4 crore in FY19 from Rs3.1 crore in FY14. Also the number of films which recorded more than Rs100 crore at the box office jumped close to two times to 13 in FY19 from seven in FY14, points out a KPMG report. Even the box office collections have grown to Rs3759 crore in FY19 from Rs2493 crore in FY15. This is despite the fact that the average ticket price of multiplexes has been rising in the range of 5-8% in the past five years. This shows that streaming platforms have not created any material impact on theatre business as it is content which attracts viewers to theatres not just the ‘avenue’ of entertainment.
The moot question
Though till last year, streaming platforms have not hurt the theatre or movie business, due to the recent announcement of films to be released on streaming platforms in the coming months, there is an increasing concern over the future of movie and theatre business. This is because digital release does not fetch returns as high as theatrical release. According to an analysis of auditing firm KPMG, around 75% of overall revenue on a film comes from big screen cinema release while digital makes up 13% and the rest from television and satellite broadcasting. Given the small share of revenues streaming platforms generate, it is unlikely it will jeopardise the business model of movie and theatre business.
Besides this, it is the very structure of content offering of streaming platforms works in the favour of movies and theatre business. This is because the structure does not appeal to all kinds of audience. In recent years, there have been a few observations of well-known film-makers which amply explain the fact that cinema or movie business is likely to remain and will charm the audience for years to come. There are three key observations of famed and critically acclaimed film-makers why cinema or theatre as an avenue will survive and not lose its relevance. These comments centre on the very structure of streaming platforms. Director Oliver stone, in an Oxford Union dialogue, said that the content on streaming platforms is journalism and cinema has a quality of literature. He said, “It (content on streaming platforms) makes the first draft longer…a first draft of history. In other words, it is like a journalistic account. You have to go deeper and that is what makes movies interesting. Once you get to a movie usually years later you really can go in there and try to see the patterns at work.” Also director Alfonso Cuaron, in the YouTube channel BAFTA Guru said, “What we are experiencing on platforms is not necessarily cinema. It is more connected with television. I am lost in a series not because of its cinematic value of the series. I am getting lost in a story. In many ways, it is becoming a media for lazy readers. What I am more intrigued about is cinema.” An interesting remark of director Joel Coen of director duo Coens Brothers also shows how the structure of content of streaming platforms does not pose a threat to movie and theatre business. He said the content on streaming platforms has start, middle but no end and goes on and on. Cinema, on the other hand, has an end which gives it a sense of finality in presentation in limited time.
Also the structure of content offering on streaming platforms entails long hours of watching comes with its own health problems. Dr. Priyanka Shah Dattani, Counselling Psychologist at NH SRCC Hospital, Haji Ali, Mumbai said, “I think these platforms are largely about the concept of indulgence. Earlier you would wait for things which would delay gratification. But this concept of ‘binge watching’ for instant gratification is a serious matter which needs pondering. One of the serious repercussions is this whole exercise numbs you out. You become emotionally numb. In psychology, it is said you can heal what you feel. But when you are emotionally numb it becomes difficult to assess exactly what is the problem. It results various kind of mental and physical ailments such as depression and Spondylitis due to continuous watching of content.” She added, “Besides, one does not build any social skills as interaction with the outside world is bare minimum. The whole process disconnects you from the outside world and provides you an alternative reality within the confines of a virtual world. This is suspension from reality and it disconnects a person from her inner world. One hardly acquires any skills.” She pointed, “As regards adults, stress levels have gone up. The idea of recreation has changed to watching content on these platforms rather than talking to child or spouse. Children are lot more affected than adults. Since they have more time and chemically wired to emulate adults, their sleep pattern is massively affected. A lot of children are sleeping as late as 2 am. Across the board one can see how the content has created distraction affecting relationship, work and productivity. ”
In a sense, streaming platforms are like television channels only. They show programmes on digital platform. The only difference is OTT platforms provide content to the viewer in the following manner: When they want, where they want and how they want. This means there is convenience and freedom to viewers to watch content anytime and at any point in the narrative of a series. Though these platforms have created a perception that they cater to a certain category of viewers, in truth, they are merely creating “library” of content. It is clear that they want to cater to all and sundry. This is evident from how content is delivered on these platforms. These platforms provide subtitles. One can listen to the narrative of a series in more than language (includes regional languages) apart from English. According to Ernst & Young, Indian consumers prefer to watch videos in vernacular and regional languages. In India, close to 93% of the time spent on videos is in Hindi and other regional languages. As a result, streaming platforms have content which go beyond Hindi and English and reach out to these consumers.
Another aspect of business model of streaming platforms is what looks like the strength of these platforms can also be its limitation. These platforms sustain on creativity, which unlike plain advertisement model, does not make up for fickle pattern of subscription. According to several research studies, viewers have shown clear preference for original and fresh content. This shows that subscribers are more interested in fresh and original content, which is a tall order to a certain extent. Given these realities, viewers will not be glued to their OTT screens and will step out of their comfort zones and watch films in theatres.
In the coming years, one is likely to see three trends in the context of increasing acceptance of streaming platforms. One, mid-budget and low-budget films may straight away release on streaming platforms. This trend is already evolving. But it will become more prominent. This is because of two reasons. One, high cost involved in promoting or publicity of a mid-budget or low-budget film. A mid-budget film costs Rs25-40 crore and a low-budget film is made in less than Rs25 crore. But publicity is a huge expense. A case in the point is director Apoorva Lakhia’s film Haseena Parkar released in 2017. The director in an interview mentioned that the film was made for Rs 11 crore and the publicity budget of the film was Rs 8 crore. Two, low-and-mid-budget films have to compete with big-budget films, which occupy disproportionately higher screens in theatres.
The second trend is the change in economic model of film-making. Film-makers point out that in the near future certain Hindi films will be made under a budget that even if they get released straight on streaming platforms the producers will not lose much money. Lastly, streaming platforms industry will consolidate. Presently, there are thirty six OTT or streaming platforms. This means there is intense competition among streaming platforms to attract viewers in times when viewers are spoilt for choice regarding content. Streaming platforms do not follow the traditional advertisement-based revenue model which means that they have to rely on huge cash which may result in high debt for companies. Also subscribers are largely fickle and they switch their accounts to different platforms as and when they find a series exciting.
Only those platforms which have backing of strong balance sheet and moneyed or strategic investors will survive and acquire weaker players who may die a natural death due to lack of funds. According to industry veterans, the budget of a web series is almost similar to a film’s budget. A web series is shot as a film and cut and edited in episodic format. This requires more money than television series where money is provided on each episode basis and locations are mostly interior. This will put pricing pressure on streaming platforms. It is quite likely that broadcast-backed and international streaming platforms will survive. They have long experience and brand power, which will help secure funds.
In the overall scheme of things, most avenues of entertainment will co-exist because they will not only feed into each other but also independently and distinctly serve their purpose. It has been observed that even feature length film directors produce work exclusively for OTT platforms. In addition to this, they make films which are released only in theatre first and then on OTT platforms. Theatres will release films which will be experiential in nature and can only be enjoyed better in theatres than any platform. Television will also survive as it serves a break from theatre and OTT platforms. But OTT platforms face two major threats. These are piracy and censorship. If the government changes censorship rules and brings out fresh rules for streaming platforms industry, then it may affect the quality of content on streaming platforms. This is because censorship will curb creative freedom, which is the fundamental reason for the huge acceptance and success of content of streaming platforms. Also piracy, which affects cinema, affects OTT platforms.
In the context of these realities, it will be the viewers who will benefit amply. They will continue to have access to humongous content. The various avenues of entertainment—television, OTT, cinema and other social media platforms—have created a food thali which satisfies hunger of almost all kinds of viewers. But the appetite of viewers is also humongous. The content creators know whom they are serving. To borrow a phrase of poet Dom Moraes’ writings, the content creators know that they are serving ‘a ferocious master’ in viewers. In the coming years, the success and longevity of these avenues of entertainment will be tested in this question: Are viewers watching content because they have time at hand or the content is so good that viewers are making time to watch it?
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Why do people play games? This was one of the first questions that came up along with – What are games? While I never found a formal definition that I could wholeheartedly agree with I believe the following comes the closest.
A game is a system in which players engage in an artificial conflict, defined by rules, that results in a quantifiable outcome.
– Salen & Zimmerman.
I believe people play games for various reasons, the most important (in my humble opinion) being a wish to escape from their everyday life. An escape means an immersion into a new world, the game world.
But what makes this immersion possible? The ability of the player to relate to the story, the characters or even the environment. In order to relate there have to be components which are picked from real life. These components are often exaggerated in order to make them more prominent. But at the crux of it what are these components? They are stereotypes.
Taking the example of a popular Indian game Masala Express Cooking Game, there is a Punjabi character who only orders Butter Chicken, Lassi or a combination of both. Similarly, there is a Brahmin character who only orders veg dishes. Both of these characters are recognisable by their attire. Thanks to these characteristics an experienced player can create a strategy that helps boost earnings and reach the win situation sooner.
A game Jetpack Joyride gained a lot of popularity among its Indian audience, hence, the studio Mech Mocha decided to come up with an Indian exclusive version. It contained skins like Sing is Bling which celebrates with Bhangra on winning, a Lassi jetpack and more. The enemies are stereotypical Bollywood supporting villains with white clothes,
sunglasses, eye patches, and the typical beards.
The bosses in this game are three comedians known for their association with AIB. While these are not stereotypical characters, they were at a point of time, well-known figures a large amount of the young adult population identified with. This game uses all the elements to create a light-hearted experience which makes the player laugh.
So far, I have given examples from casual mobile games. These games were made specifically for the Indian audience. But what about games in which the Indian character is a novelty? The following are some of the examples I found. As I looked at all these characters, I realised that their attire was borrowed heavily from Indian styles like sarees, dhotis, turbans, etc. Hence, I did not mention it for each and decided to focus more on their personalities.
Dreamfall Chapters is an episodic 3D adventure game with the emphasis on character interaction, exploration of the game world, and puzzle solving. It is set in a cyberpunk future where Europe is paying the price for centuries of wasteful spending and industrialization. Mira, a character with origins in the tech-slums of Mumbai is abrasive and rebellious. Her language is rude, blunt and colourful. She is a stereotypical slum kid trying to make in a life in a big city. We can find similar characters in literature like Shantaram and films like Slumdog Millionaire.
Assassin’s Creed Series is an action-adventure stealth video game. It depicts in the centuries-old struggle, now and then, between the Assassins, who fight for peace with free will, and the Templars, who desire peace through control. The son of the last Sikh Princess and a Kashmiri Muslim, Jayadeep Mir was raised to be an Assassin like his father. However, he was banished to England after failing his first mission and compromising the Brotherhood. He took the alias “Henry Green” and built a network of contacts representing a cross-section of English society. Jayadeep had always hoped to return to India, and he was eventually permitted to go home after proving himself in the field. He represents the Indian who traveled to England during colonisation, studied, assimilated into the culture and hoped to return once he had learned and availed everything England had to offer.
The Wonderful 101 is an action adventure game in which a player controls a horde of heroes which can morph into a single unit like a hand. Wonder-Black is the alter-ego of an 11-year-old genius with an IQ of over 300, Krishna Ramanujan. He is shown to have a good standing in the scientific and technical community despite his age. He is also anti-social and apathetic. He is the stereotypical Indian child who is focused on science or engineering with a small pastime of crime-fighting.
The Order: 1886 is a story-focused action-adventure game played in a third-person perspective. Set in an 1886 alternate history steampunk London, the game follows the legendary Knights of the Round Table as they battle to keep the world safe from half-breeds, such as werewolves and vampires, as well as fringe organizations rebelling against the government. Lakshmi was a disposed queen from India, but she faked her own death after the United India Company seized control of the East Indies. The powerful trade organization was plotting to rule the world with unethical forces, and Lakshmi stood in opposition to them. To that end, she recruited a number of low-class citizens and immigrants and formed the Rebellion. Lakshmi took her fight to London, but her Indian heritage was always apparent. Here the designers directly picked a character from Indian history and tweaked her past to fit the game. However, Rani Lakshmi Bai, till date is the figurehead for a strong Indian woman.
Punch-Out!! Series is a boxing game with perhaps the most stereotypically Indian game character, Great Tiger. He speaks Hindi, wears a turban in the ring, rides a magic carpet and plays up the tiger motif at every chance. The “Champion of India” uses magic and illusions to trick his opponents, and his mysticsm defines him as a fighter.
He moves so fast that he appears to be teleporting around the ring, and he can even create clones of himself. Hinduism has a number of interlinked ascetic traditions that are tied to the acquisition of higher powers, so Great Tiger’s techniques are likely an indication that he has transcended the limitations of the body.
Overwatch is a team-based multiplayer first-person shooter video game. The player controls a large variety of heroes, which includes Symmetra. Satya Vaswani is a typical South-Indian poor girl who uses her intelligence and the first opportunity to better her life. She prefers structured environments and engineering solutions. Dance, one of the staples of South-Indian society is incorporated into her construction methods. Her character reflects on the emphasis on education and structure while still being talented at the arts.
Street Fighter Series is a fighting video game where two characters face off. Dhalsim is a deeply spiritual individual who likes meditation, curry, and elephants. Although he preaches tenets like self-discipline and pacifism, he’s also protective of his village and his loved ones. He’s not fond of conflict, but his esoteric yoga makes him a dangerous fighter when the situation calls for it. His training gives him the ability to extend his limbs to unnatural lengths, and it’s fitting that a pacifist would adopt a fighting style that creates distance between himself and his enemies. He is a stereotypical Indian sadhu that fights back when pushed.
After looking through so many characters and games I came to the conclusion that it is the stereotypes that make the characters relatable and the twists that hook us on to the game. Today we have a pacifist sadhu fighting; tomorrow perhaps will bring a Sardar using his turban as a storage unit, or a saree pallu being used to swing from building to building. I for one look forward to it. What are your thoughts?
Stereotypes in Gaming Why do people play games? This was one of the first questions that came up along with – What are games?
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Science reporter pdf 2018
Science reporter pdf 2018 presents a mixed package of humour science fiction puzzles science projects and crosswords and columns dealing with topics such as computers environment health and much more. Subscribers of the print edition can also access the current & recent issues of
Science reporter pdf 2018 online. In case you are subscriber of print edition please send your subscription number subscribers name & postal address by email to [email protected] Your subscription number is written on the envelope like SRL2708July2016. Also you will need to register your email address with NOPR for accessing current & recent issues. Authorization for online access of current & recent issues shall be given after verification of subscription of print edition & same shall be communicated by email to the registered email address
Science reporter pdf 2018 As were the special issues brought out from time to time on varied topics such as environment food irradiation natural disasters and on eminent personalities such as Shanti Swarup Bhatnagar C. V. Raman Ramanujan Birbal Sahni and M. N. Saha to name a few. In every issue
Science reporter pdf 2018 an earthquake or oil spill. Or for that matter important issues such as cloning satellite launches or the Human Genome Project. Besides it is also a onestop solution for students on the lookout for latest updates from the world of science. Inaccessible as foreign scientific journals are to them they find in
Science reporter pdf 2018 was Started in 1964 Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments
Science reporter in hindi has today grown into being much more than just a vehicle for relaying information about technologies being developed in the national laboratories. science reporter in hindi Today it is a popular platform for exchanging ideas about the state of science in the country matters of science policy and discussing the future course science in India should take
Science reporter in hindi a comprehensive package of information which helps them not only during competitive exams but also throughout their careers.. Science reporter in hindi has always been in the forefront of reporting scientific events as they happen whether it is an erupting volcano a landslide The contributors to
Science reporter in hindi include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two yearlong series India Can Do It that dealt with success stories in Indian science and technology was widely appreciated.
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#NISCAIR #INSA #AASSA #ScienceReporter #VigyanPragati
Science reporter monthly magazine subscription
Science reporter monthly magazine subscription a comprehensive package of information, which helps them not only during competitive exams but also throughout their careers. The contributors to Science reporter monthly magazine subscription include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two-year-long series India Can Do It, that dealt with success stories in Indian science and technology, was widely appreciated.
Science reporter monthly magazine subscription As were the special issues brought out from time to time on varied topics such as environment, food irradiation, natural disasters, and on eminent personalities, such as Shanti Swarup Bhatnagar, C. V. Raman, Ramanujan, Birbal Sahni and M. N. Saha, to name a few. In every issue. Science reporter monthly magazine subscription presents a mixed package of humour, science fiction, puzzles, science projects and crosswords, and columns dealing with topics such as computers, environment, health and much more. Subscribers of the print edition can also access the current & recent issues of
Science reporter monthly magazine subscription online. In case you are subscriber of print edition, please send your subscription number, subscribers name & postal address by email to [email protected]. Your subscription number is written on the envelope like SR-L-27-08(July-2016). Also you will need to register your email address with NOPR for accessing current & recent issues. Authorization for online access of current & recent issues shall be given after verification of subscription of print edition & same shall be communicated by email to the registered email address. ,
hindi science magazine was Started in 1964, Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments, hindi science magazine has today grown into being much more than just a vehicle for relaying information about technologies being developed in the national laboratories. hindi science magazine Today it is a popular platform for exchanging ideas about the state of science in the country, matters of science policy, and discussing the future course science in India should take
hindi science magazine
has always been in the forefront of reporting scientific events as they happen, whether it is an erupting volcano, a landslide,
hindi science magazine
an earthquake or an oil spill. Or for that matter, important issues such as cloning, satellite launches, or the Human Genome Project. Besides, it is also a one-stop solution for students on the lookout for latest updates from the world of science. Inaccessible as foreign scientific journals are to them ......................................................
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How to create a #Photographic #memory using a pattern?
https://www.youtube.com/watch?v=CwipmbZf7qcWhat if you had a #process which was fun and easy; with the assurance of 99% success of doing it right? What would you do?
Would you study right?
Would you love to do things the right way from the start?
Would you accept the best ways to learn anything you like?
Some Insights from #History.
If we #learn from all the greatest #mathematicians and designers in the world and the process they used for learning. We are always going to find that they had built a pattern over the period of time to learn almost anything.
I am not talking about the people who were forced to become what they became. I am talking about those great minds, who influenced the world with their great mind, to name a few of them. John Forbes Nash, Stephen Hawking, and Srinivasa Ramanujan . They were never told to study or look at a book ever, they found their own ways to do extraordinary calculations.
What if you never had to tell your kids to study or sit down with them for long hours making sure that they complete their #assignment without being stressed or unfocused.
How it all began?
The# story started in my college days, coming from Regional School with only one language Hindi to be really comfortable with, it was really hard to take Science as subject to study in Junior College. Since there were no tuitions and classes within 20 km. I made myself comfortable with self-study. Over the period of time, I got really comfortable with everything. I developed a pattern although I had no Idea I was making a pattern, I just wanted things to be comfortable and easy for me.
The first #paper of #exam was chemistry, Just an hour before somehow we became sure of one question of 12 marks to be on the paper, It was sure to be in the papers. I had not studied it, I looked at the answer in the book I used my method to memorize the whole answer.
I entered the exam hall, when the teachers handed over the question paper, I found the third important question to be that particular question exactly the way it was supposed to be. I started writing and you won’t believe the two-page #answer I wrote the way exactly it was in the book even with commas and full stops.
I realized then and there I was creating a photographic #memory using this pattern. Later after a year, I had started teaching. I met these parents nearby. One of their kid was way smarter, he took pretty less time to understand anything at all, but one of the girls, she was slow and had problems with everything words alphabets and numbers. After few days I started teaching her using this pattern and with no time, the girl really showed that kids with right teaching can be helped, she was not just.
The Pattern
youtube
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#NISCAIR #INSA #AASSA #ScienceReporter #VigyanPragati
Science reporter monthly magazine subscription
Science reporter monthly magazine subscription a comprehensive package of information, which helps them not only during competitive exams but also throughout their careers. The contributors to Science reporter monthly magazine subscription include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two-year-long series India Can Do It, that dealt with success stories in Indian science and technology, was widely appreciated.
Science reporter monthly magazine subscription As were the special issues brought out from time to time on varied topics such as environment, food irradiation, natural disasters, and on eminent personalities, such as Shanti Swarup Bhatnagar, C. V. Raman, Ramanujan, Birbal Sahni and M. N. Saha, to name a few. In every issue. Science reporter monthly magazine subscription presents a mixed package of humour, science fiction, puzzles, science projects and crosswords, and columns dealing with topics such as computers, environment, health and much more. Subscribers of the print edition can also access the current & recent issues of
Science reporter monthly magazine subscription online. In case you are subscriber of print edition, please send your subscription number, subscribers name & postal address by email to [email protected]. Your subscription number is written on the envelope like SR-L-27-08(July-2016). Also you will need to register your email address with NOPR for accessing current & recent issues. Authorization for online access of current & recent issues shall be given after verification of subscription of print edition & same shall be communicated by email to the registered email address. ,
hindi science magazine was Started in 1964, Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments, hindi science magazine has today grown into being much more than just a vehicle for relaying information about technologies being developed in the national laboratories. hindi science magazine Today it is a popular platform for exchanging ideas about the state of science in the country, matters of science policy, and discussing the future course science in India should take
hindi science magazine
has always been in the forefront of reporting scientific events as they happen, whether it is an erupting volcano, a landslide,
hindi science magazine
an earthquake or an oil spill. Or for that matter, important issues such as cloning, satellite launches, or the Human Genome Project. Besides, it is also a one-stop solution for students on the lookout for latest updates from the world of science. Inaccessible as foreign scientific journals are to them ......................................................
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Buy science reporter magazine
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Science reporter magazine in hindi, has always been in the forefront of reporting scientific events as they happen, whether it is an erupting volcano, a landslide, The contributors to science reporter magazine in hindi include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two-year-long series India Can Do It that dealt with success stories in Indian science and technology was widely appreciated. Science reporter magazine in hindi was Started in 1964, Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments,
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#NISCAIR #INSA #AASSA #ScienceReporter #VigyanPragati
Science reporter monthly magazine subscription
Science reporter monthly magazine subscription a comprehensive package of information, which helps them not only during competitive exams but also throughout their careers. The contributors to Science reporter monthly magazine subscription include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two-year-long series India Can Do It, that dealt with success stories in Indian science and technology, was widely appreciated.
Science reporter monthly magazine subscription As were the special issues brought out from time to time on varied topics such as environment, food irradiation, natural disasters, and on eminent personalities, such as Shanti Swarup Bhatnagar, C. V. Raman, Ramanujan, Birbal Sahni and M. N. Saha, to name a few. In every issue. Science reporter monthly magazine subscription presents a mixed package of humour, science fiction, puzzles, science projects and crosswords, and columns dealing with topics such as computers, environment, health and much more. Subscribers of the print edition can also access the current & recent issues of
Science reporter monthly magazine subscription online. In case you are subscriber of print edition, please send your subscription number, subscribers name & postal address by email to [email protected]. Your subscription number is written on the envelope like SR-L-27-08(July-2016). Also you will need to register your email address with NOPR for accessing current & recent issues. Authorization for online access of current & recent issues shall be given after verification of subscription of print edition & same shall be communicated by email to the registered email address. ,
hindi science magazine was Started in 1964, Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments, hindi science magazine has today grown into being much more than just a vehicle for relaying information about technologies being developed in the national laboratories. hindi science magazine Today it is a popular platform for exchanging ideas about the state of science in the country, matters of science policy, and discussing the future course science in India should take
hindi science magazine
has always been in the forefront of reporting scientific events as they happen, whether it is an erupting volcano, a landslide,
hindi science magazine
an earthquake or an oil spill. Or for that matter, important issues such as cloning, satellite launches, or the Human Genome Project. Besides, it is also a one-stop solution for students on the lookout for latest updates from the world of science. Inaccessible as foreign scientific journals are to them ......................................................
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#NISCAIR #INSA #AASSA #ScienceReporter #VigyanPragati
Science reporter pdf 2018
Science reporter pdf 2018 presents a mixed package of humour science fiction puzzles science projects and crosswords and columns dealing with topics such as computers environment health and much more. Subscribers of the print edition can also access the current & recent issues of
Science reporter pdf 2018 online. In case you are subscriber of print edition please send your subscription number subscribers name & postal address by email to [email protected] Your subscription number is written on the envelope like SRL2708July2016. Also you will need to register your email address with NOPR for accessing current & recent issues. Authorization for online access of current & recent issues shall be given after verification of subscription of print edition & same shall be communicated by email to the registered email address
Science reporter pdf 2018 As were the special issues brought out from time to time on varied topics such as environment food irradiation natural disasters and on eminent personalities such as Shanti Swarup Bhatnagar C. V. Raman Ramanujan Birbal Sahni and M. N. Saha to name a few. In every issue
Science reporter pdf 2018 an earthquake or oil spill. Or for that matter important issues such as cloning satellite launches or the Human Genome Project. Besides it is also a onestop solution for students on the lookout for latest updates from the world of science. Inaccessible as foreign scientific journals are to them they find in
Science reporter pdf 2018 was Started in 1964 Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments
Science reporter in hindi has today grown into being much more than just a vehicle for relaying information about technologies being developed in the national laboratories. science reporter in hindi Today it is a popular platform for exchanging ideas about the state of science in the country matters of science policy and discussing the future course science in India should take
Science reporter in hindi a comprehensive package of information which helps them not only during competitive exams but also throughout their careers.. Science reporter in hindi has always been in the forefront of reporting scientific events as they happen whether it is an erupting volcano a landslide The contributors to
Science reporter in hindi include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two yearlong series India Can Do It that dealt with success stories in Indian science and technology was widely appreciated.
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Text
#NISCAIR #INSA #AASSA #ScienceReporter #VigyanPragati
Science reporter monthly magazine subscription
Science reporter monthly magazine subscription a comprehensive package of information, which helps them not only during competitive exams but also throughout their careers. The contributors to Science reporter monthly magazine subscription include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two-year-long series India Can Do It, that dealt with success stories in Indian science and technology, was widely appreciated.
Science reporter monthly magazine subscription As were the special issues brought out from time to time on varied topics such as environment, food irradiation, natural disasters, and on eminent personalities, such as Shanti Swarup Bhatnagar, C. V. Raman, Ramanujan, Birbal Sahni and M. N. Saha, to name a few. In every issue. Science reporter monthly magazine subscription presents a mixed package of humour, science fiction, puzzles, science projects and crosswords, and columns dealing with topics such as computers, environment, health and much more. Subscribers of the print edition can also access the current & recent issues of
Science reporter monthly magazine subscription online. In case you are subscriber of print edition, please send your subscription number, subscribers name & postal address by email to [email protected]. Your subscription number is written on the envelope like SR-L-27-08(July-2016). Also you will need to register your email address with NOPR for accessing current & recent issues. Authorization for online access of current & recent issues shall be given after verification of subscription of print edition & same shall be communicated by email to the registered email address. ,
hindi science magazine was Started in 1964, Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments, hindi science magazine has today grown into being much more than just a vehicle for relaying information about technologies being developed in the national laboratories. hindi science magazine Today it is a popular platform for exchanging ideas about the state of science in the country, matters of science policy, and discussing the future course science in India should take
hindi science magazine
has always been in the forefront of reporting scientific events as they happen, whether it is an erupting volcano, a landslide,
hindi science magazine
an earthquake or an oil spill. Or for that matter, important issues such as cloning, satellite launches, or the Human Genome Project. Besides, it is also a one-stop solution for students on the lookout for latest updates from the world of science. Inaccessible as foreign scientific journals are to them ......................................................
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#NISCAIR #INSA #AASSA #ScienceReporter #VigyanPragati
Science reporter monthly magazine subscription
Science reporter monthly magazine subscription a comprehensive package of information, which helps them not only during competitive exams but also throughout their careers. The contributors to Science reporter monthly magazine subscription include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two-year-long series India Can Do It, that dealt with success stories in Indian science and technology, was widely appreciated.
Science reporter monthly magazine subscription As were the special issues brought out from time to time on varied topics such as environment, food irradiation, natural disasters, and on eminent personalities, such as Shanti Swarup Bhatnagar, C. V. Raman, Ramanujan, Birbal Sahni and M. N. Saha, to name a few. In every issue. Science reporter monthly magazine subscription presents a mixed package of humour, science fiction, puzzles, science projects and crosswords, and columns dealing with topics such as computers, environment, health and much more. Subscribers of the print edition can also access the current & recent issues of
Science reporter monthly magazine subscription online. In case you are subscriber of print edition, please send your subscription number, subscribers name & postal address by email to [email protected]. Your subscription number is written on the envelope like SR-L-27-08(July-2016). Also you will need to register your email address with NOPR for accessing current & recent issues. Authorization for online access of current & recent issues shall be given after verification of subscription of print edition & same shall be communicated by email to the registered email address. ,
hindi science magazine was Started in 1964, Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments, hindi science magazine has today grown into being much more than just a vehicle for relaying information about technologies being developed in the national laboratories. hindi science magazine Today it is a popular platform for exchanging ideas about the state of science in the country, matters of science policy, and discussing the future course science in India should take
hindi science magazine
has always been in the forefront of reporting scientific events as they happen, whether it is an erupting volcano, a landslide,
hindi science magazine
an earthquake or an oil spill. Or for that matter, important issues such as cloning, satellite launches, or the Human Genome Project. Besides, it is also a one-stop solution for students on the lookout for latest updates from the world of science. Inaccessible as foreign scientific journals are to them
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Science reporter pdf 2018
Science reporter pdf 2018 presents a mixed package of humour science fiction puzzles science projects and crosswords and columns dealing with topics such as computers environment health and much more. Subscribers of the print edition can also access the current & recent issues of
Science reporter pdf 2018 online. In case you are subscriber of print edition please send your subscription number subscribers name & postal address by email to [email protected] Your subscription number is written on the envelope like SRL2708July2016. Also you will need to register your email address with NOPR for accessing current & recent issues. Authorization for online access of current & recent issues shall be given after verification of subscription of print edition & same shall be communicated by email to the registered email address
Science reporter pdf 2018 As were the special issues brought out from time to time on varied topics such as environment food irradiation natural disasters and on eminent personalities such as Shanti Swarup Bhatnagar C. V. Raman Ramanujan Birbal Sahni and M. N. Saha to name a few. In every issue
Science reporter pdf 2018 an earthquake or oil spill. Or for that matter important issues such as cloning satellite launches or the Human Genome Project. Besides it is also a onestop solution for students on the lookout for latest updates from the world of science. Inaccessible as foreign scientific journals are to them they find in
Science reporter pdf 2018 was Started in 1964 Science Reporter is one of the oldest English language popular science monthlies published in India. It has a wide circulation throughout the country. From its initial objective of making the people of India aware of the innumerable technologies being developed within our scientific establishments
Science reporter in hindi has today grown into being much more than just a vehicle for relaying information about technologies being developed in the national laboratories. science reporter in hindi Today it is a popular platform for exchanging ideas about the state of science in the country matters of science policy and discussing the future course science in India should take
Science reporter in hindi a comprehensive package of information which helps them not only during competitive exams but also throughout their careers.. Science reporter in hindi has always been in the forefront of reporting scientific events as they happen whether it is an erupting volcano a landslide The contributors to
Science reporter in hindi include many eminent scientists of national and international standing. At the same time it also encourages upcoming science writers by guiding them editorially. The two yearlong series India Can Do It that dealt with success stories in Indian science and technology was widely appreciated.
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