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Audiogyan

Audiogyan

Author: Audiogyan

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Audiogyan is a collection of wide-ranging conversations with designers, artists, musicians, writers, thinkers, and luminaries of the Indian creative world. Started in 2016 by Kedar Nimkar, the podcast hopes to expand the definition of design, document, archive, and inspire fellow generation artists.
289 Episodes
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Friedrich Nietzsche’s famous line - “And those who were seen dancing were thought to be insane by those who could not hear the music.” In today’s episode, we’ll be talking about improvisation in dance with Avantika Bahl. Avantika is a dance practitioner and educator based in Mumbai. As an artist, she works towards creating inclusive performances that can be accessed by a larger community. Over the past few years, her choreographic choices have brought diverse voices and experiences to the mainstream. She studied at the London Contemporary Dance School and completed the Curriculum-in-Motion program offered by Jacobs Pillow. Avantika has a Masters degree in English Literature and completed her Level 3 certification in Indian Sign language.   Questions What according to you is improvisation? Where do we see it mostly happening? Is it seen in all creative endeavours? You have dabbled with silence, mundane chores, sometimes with just burst of sounds. What do you call your form of dance? Which category / genre does it belong? What does it mean to improvise in the context of dance? What guides improvisation for you - Body, Music, Theme, Story, Location or anything else? Traditionally dance (or most performing art forms) were considered to be performed effortlessly (Sahaj) and elegantly (simple). Does one need to know the rules to bend the rules? What does bending a rule mean? Improvisation? Your show “Say, What?” with a creative partner who is deaf. What is the extent of improvisation that a dancer can explore and still make it palatable? What the biggest challenge in experiments like these? You said, “We just have to be still and dance” - What do you mean? Tell us about your experience learning the Indian Sign language. How did it help? When and why do dancers improvise? When we fail or when we do something over and over again? Is it the boredom? Is it uncovering deeper layers as they keep performing or revisiting the movements? Is it that the medium falls short to express? Can improvisation be a starting point? Do smaller improvisations impulses land in changing the meta narrative? How does one come back to the main kathavastu / main narrative? May be you can explain in the context of “Look left, turn right”? What is the extent of improvisation when it comes to dance? Can you share any examples - names and artists who are doing and have done a lot in the past? What according to you is the future of dance and improvisation?   Reference reading https://www.avantikabahl.com https://www.instagram.com/avantikabahl/?hl=en https://prakritifoundation.com/artiseprofile/avantikabahl/ https://vimeo.com/user5724048 https://www.themovementartsco.com/blank-page https://narthaki.com/info/rev17/rev2058.html https://theideaslab.com/say-duet-celebrating-sounds-silence-movement/ https://en.wikipedia.org/wiki/Merce_Cunningham https://www.theguardian.com/stage/2006/sep/16/dance https://sites.northwestern.edu/cageanddance/jcchoreo/ https://www.abt.org/people/john-cage/ https://en.wikipedia.org/wiki/John_Cage https://studsterkel.wfmt.com/programs/merce-cunningham-and-john-cage-discuss-music-and-dance https://en.wikipedia.org/wiki/Ohad_Naharin https://www.dansedanse.ca/en/ohad-naharin https://www.gagapeople.com/en/ https://www.nytimes.com/2023/03/02/arts/dance/review-ohad-naharin-hora-batsheva.html https://www.newyorker.com/culture/culture-desk/the-secret-history-of-the-israeli-choreographer-ohad-naharin  
Einstein once said “If you want your children to be intelligent, read them fairy tales. If you want them to be more intelligent, read them more fairy tales.” He also said, “Logic will get you from A to Z; imagination will get you everywhere.” Why I am talking about this? In today’s episode, we’ll documenting all about Play and Work. For this, we have Nitesh Mohanty and Sonal Choudhary with us on Audiogyan. Nitesh is a Educator, Photographer, Art Director, Writer, Curator. A JJ and Bombay boy, now in Goa. He did his post-gard from NID, Ahmedabad, specialising in Textile Design. Sonal is a Visual Communication Designer, Writer, Educator. We’ll be discussing about their new venture, or should I call it “school of thought” - Plork. Well, lets find out in this case study. Questions NM & SC: Tell us a little bit about your background. Which school of thought are you coming from? NM & SC: What is Plork? Why are you doing this? Who is it for? SC: Paula Scher said, “Great design is serious, not solemn”. What is your take? NM: What makes you go so broad with poets, chefs and philosophers, while education these days is task / job oriented? NM: What is taste and how do you acquire taste during education? (aesthetic, intellectual) NM: You teach, “Ways of Seeing”. Tell us more about it? NM & SC: How do you define a ‘mature’ designer? NM: What is the role of “play” in corporate structures? When there are clear objectives and deliverables, is play required or possible? SC: What are key big gaps in today’s design or art education? NM: What do you think the future of design education in India? Reference Reading https://www.instagram.com/nimo_obscura/ https://www.linkedin.com/in/nitesh-mohanty-46562777/?originalSubdomain=in https://www.jioinstitute.edu.in/faculty/mr-nitesh-mohanty https://homegrown.co.in/homegrown-creators/nitesh-mohantys-nowhere-is-a-visual-story-of-resilience-amidst-tragedy-and-despair https://medium.com/@artwintent/the-art-of-visual-storytelling-4b1ad2e159b0 https://studioanugraha.com/Nowhere-Now-here https://www.instagram.com/sonalchoudhury/?hl=en https://www.behance.net/sonalchoudhury1 https://www.instagram.com/plorkschoolofthought/?hl=en
“The characteristics of jazz help. Its sense of improvisation, individualism, sound, and rhythm are all present and important in graphic design, too.” - Niklaus Troxler, who have been improvising with letterforms like Jazz Musicians since 1960s. In my opinion, a Poster is a mix of typeface and graphics communicating something. In here, typeface matters a lot. To discuss this and more, today we have Sarang Kulkarni with us. Sarang is a type designer and co-founder of Ektype. He also has his own agency called as The White Crow where he does branding and typography work. This Audiogyan will be in English and Marathi. Questions What according to you is Type / Akshar? Massimo Vignelli said that he is comfortable with half a dozen typefaces lasting a lifetime. Rest all is visual pollution. What's the need for more typefaces? What triggers a need for new typefaces? Medium, Language, Expression, Enhancement, Technology, Content? Are there ways to systematically study and distinguish between an improvisation of a typeface versus a different typeface? For eg, Mukta and Modak have different anatomy, so we can say that they are 2 different fonts. But can we say that Inter is an improvised version of Helvetica? You deal with a lot of abstract forms as well. At letterbox, for eg: “k” (Marathi) can be identified if one looks at the flow or series of iterations of representing ‘k’. Can a letter form be identified in isolation? What's the extent of improvisation? How abstract one can go and still make it palatable? When can one start improvising on a typeface? When the base font is registered in everyone’s mind. For eg: Can we improvise on a newly launched font set? Does improvisation in a typeface done only as an experiment can transform into the usage of mass communication? What's going on with 365 days of type and more such practices and movements? Are those improvisations? How easy or hard is it today to experiment and improvise on open-source fonts? When does the author know that the improvisation is done? Reference Reading https://www.instagram.com/1sarangkulkarni/?hl=en https://www.instagram.com/ektype/?hl=en https://www.instagram.com/letterbox.india/?hl=en https://www.linkedin.com/in/sarang-kulkarni-5898857/ https://www.behance.net/SarangKulkarni https://www.dandad.org/profiles/person/664731/sarang-kulkarni/ https://www.youtube.com/watch?v=LXwkZaIRLI4 https://whitecrow.in/ https://twitter.com/sarangkulkarni7 https://www.typoday.in/2014/sarang.html http://luc.devroye.org/fonts-86975.html https://eyeondesign.aiga.org/being-a-mumbai-type-designer-is-about-more-than-great-work-you-gotta-get-the-lingos-and-theres-hundreds-of-them/ https://design.google/library/anek-multiscript https://kyooriusdesign.awardsengine.com/?action=ows:entries.details&e=135402&project_year=2023 https://homegrown.co.in/homegrown-voices/ek-type https://www.adi.org.in/events/adiamd-many-worlds-of-type https://vimeo.com/133792269
Abhinit has been building digital products for past 15 years, he was head of Design at Gojek and scaled the design and research function from 6 designer to 200 plus including research. He is currently on a sabbatical.  Questions You wear multiple hats - designer, programmer and Product. Your twitter bio says, App Maker. Pixel Hinter. Leak Checker. Who do you associate the most with? What does scale mean in the world of tech? What does “designing for scale” enable us to do? Why design for scale? What’s the role of design & research in this? Is process driven culture a recipe for scaling? Doesn’t process hinder innovation and out of box thinking? When lean, one can move fast. When we have legacy how do we change? Apple being an exception, who else has designed for scale? I know you will say, Stripe. Any other brand / product? When you are market leaders, what can make us strive for excellence? We are already at scale. :) What were the biggest challenges and if you were do it all over again, what is one thing you’ll change? We are in a process of improving our design system, which we hope will help us scale. Who should be the key stake holder and why? I know you must have answered this many times, does creativity come in the way when we have design system. For eg: How do we personalise or customise for different segments while maintaining unified language? Reference links https://www.instagram.com/abhinitial/ https://twitter.com/abhinitial?lang=en https://audiogyan.com/2020/04/22/abhinit-tiwari/ https://audiogyan.com/?type=wrtd-series https://www.propertyguru.com.sg/ https://www.propertygurugroup.com/joinus/
Potter Stewart an associate Justice of the U.S. Supreme Court once said, “Censorship reflects a society's lack of confidence in itself.” Censoring artists, intellectuals is not a new thing. Today to discuss more about censorship we have Ajit Rai with us on Audiogyan. We’ll be talking about banning and censorship in films in the Indian context. This episode will be bi-lingual but mostly in Hindi. Listeners have to bare with my Hindi questions but Ajit sir will cover my shortcomings. 🙂 He wrote a best seller book " Hindujas and Bollywood'(English ) that is launched in London by actor Akshay Kumar & "Bollywood ki Buniyaad"(Hindi ) launched in 75 th Cannes Film Festival by Mr Apoorva Chandra Secretary Ministry of I & B Govt of India last year 2022. It is a global journey of about 1200 Hindi films introduced to World by Hinduja Family. He is invited and travelled and reported from more than 50 countries in many prestigious International Film Festivals and Nobel prize ceremony as well. His credentials are as follows  1.Presently working as Advisor and Film Critic Bharat Express National News Channel. 2.He is regularly contributing as Film Critic for Jansatta / The Indian Express group, Navbharat Times/ The Times of India group, Dainik Bhaskar, Prabhat khabar, People Samachar, Jan Sandesh Times and more than 25 digital media outlets. 3. Ajit Rai has been a member of Media Committee International Film Festival of India Goa in 2010 and Selection Jury Member (Preview Committee) in 2014, 2015 & 2017. 4. He is a guest speaker in knowledge Series of NFDC Film Bazar in IFFI Goa many times. 5 .Ajit Rai has been invited by Film & Television Institute of India as Guest of Honour in  2013 & 2015 in Student Film Festival and National Students Film Awards ceremony. 6. He is a Member of Jury in Life After Oil International Film Festival Sardenia Italy.  7. Cannes Film Festival - the most prestigious festival in the world-  granted Ajit Rai the top priority Press Badge considering him as one of the most important film critic of the World  He is covering Cannes Film Festival & many other international film festivals and IFFI Goa since 2004. 8. Ajit Rai is only film critic of India who wrote maximum articles on  International Film Festival of India IFFI Goa around more than 500 from 2004 to till date. 9. He has been Consultant Jagaran Film Festival in 2012, 2013 & 2014 in 16 cities of India by the largest circulated Hindi newspaper of the world- Dainik Jagran. 10. He is Advisor and Member of Jury in Rajasthan International Film Festival Jaipur 11.  (a) He has started Raipur International Film Festival in collaboration with Govt of Chhattisgarh and Directorate of Film Festival DFF Govt of India in 2015.  (b) He has Started Haryana International Film Festival Yamunanagar in 2008 in collaboration with Govt of Haryana. (c) He has started Azamgarh International Film Festival in 2018. (d) He has started Faridabad International Film Festival in 2012. (e). He has started Sardar Patel International Film Festival in Patiala Punjab    12. (a) He has started Indian Film Festival Moscow Russia as founder Director in 2014 (b) Indian Film Festival Uppsala Sweden in 2013 .  (c) He has started  Indian Film Festival Berlin Germany in 2012.  (d) He is Consultant Bollywood Film Festival Oslo Norway since 2013 . 13. He has been invited by President of Iran in 2012 as a special guest in New Horizon Film Festival Tehran . 14. Ajit Rai is one of the leading Film & Theatre Critic & Cultural Journalist of India with wide and vast experience of more than 30  years  in almost all leading National Newspapers, reputed Journals and Electronic media as well on Cinema, Theatre, Literature & Cultural discourses. His about 5000 published articles are pioneer in Film & Cultural journalism. Some of his innovative reports has been debated in Indian Parliament . 15. He has been Editor - Rang Prasang.. an international journal of Cinema & Theatre,  National School Of Drama, Ministry Of Culture, Govt. Of India. 16. He is a Member of Jury Bharat Rang Mahotsav, the largest theatre festival of the 3rd world by National School Of Drama, Ministry of Culture Govt of India. 17. He is a Member of Jury Meta Awards by Mahindra Company for theatre.  18. Founder Editor - Drishyantar, a monthly magazine of Cinema TV Culture & Media by Doordarshan Ministry of I&B Govt of India. 19. Worked as consultant Doordarshan Ministry of I & B Govt of India. 20. Worked with All India Radio, Patna & New Delhi. Ministry of I&B Govt of India. 21. World Record - (a) -Ajit Rai made a world record in film journalism in Cannes Film Festival 2018.  He published 75 articles in various Indian Newspapers in 15 days on Cannes Film Festival This is a world record that one journalist wrote 75 articles about one event. (b) He made a world record in Theatre Criticism in 2010 when his 25 articles published 25 days daily without break during International Theatre Festival by National School of Drama New Delhi. (c). He is covering Cairo International film festival,   EL Gouna Film Festival in Egypt and Red Sea International Film Festival regularly and wrote 25 articles every year. 22. He wrote a book Hindujas and Bollywood in English and Bollywood ki buniyaad in Hindi on contribution of Hinduja Brothers to Indian  Cinema.. It is a global cultural journey of about 1200 Hindi films introduced to World by Hinduja Family. 23. Pioneer in personality journalism in India in 1995 in India Today magazine. 24. He has been invited to deliver lecture on Cinema ,Indian culture, Theatre  & society by United Nation ( UNO) New York, British Parliament, London, President House Tehran Iran, Uppsala University Sweden, Bollywood Festival Oslo, Norway, Indian Film Festival Berlin Germany & Moscow Russia. Dubai UAE ( Indian Embassy, Sardenia Italy and many more. 25. Ajit Rai is one and only who has been  invited in  Nobel Peace Prize Ceremony Oslo Norway in 2014. 26 . He is pioneer of Cinema movement in Educational Institutions of India and abroad and started many Film Festivals & Film Appreciation Courses  in DAV Girls College, Yamunanagar,  Haryana, Kurukshetra University, Punjabi University, Patiala, Punjab,  Mahatma Gandhi Hindi International University Vardha,  Maharashtra. DAV Centenary College Faridabad , Hariyana etc. 27. Work Experience-  He worked with various newspapers and magazines from 1988 to till date- 1. Dainik Hindustan, Patna & New Delhi ( Hindustan Times group) 2. Navbharat Times, Patna & New Delhi ( Times of India group) 3. Jansatta. New Delhi ( Indian Express group) 4. Dainik Bhaskar, Bhopal 5. Dainik Jagaran, New Delhi 6. Rashtriya Sahara New Delhi 7. Sahara samay New Delhi 8. Swatantra Varta, Hyderabad 9. News Break , Patna 10. Amar Ujala New Delhi 11. Prabhat khabar, Ranchi Jharkhand  12. India Today. New Delhi 13. Outlook, New Delhi 14. Hans New Delhi  15. Aaj ki Jandhara, Raipur Chhattisgarh 16 Jan Sandesh Times. Lucknow . 17. People s Samachar Bhopal Madhya Pradesh. 18. The Sentinal. Guwahati Assam. 28. Educational qualification -  (a) M. A. in Psychology ( 1989), 1st Division,  ( b) M.A. in Journalism & Mass Communication, (2007).  1st Division. Note - Ajit Rai always got 1st Division & 1st Class through out his education ie from Class 1 to 12, B.A. (Hons.) & M.A.    29. Professional qualifications  (a). Diploma in Psycho Analysis,  Educational- vocational Guidance & Counselling , 1st division. 1993, NCERT, New Delhi. (b) . Diploma in Journalism.1 st division( 2006, ) Kurukshetra University. (c).  Diploma in Film Appreciation, 1st division 2003. Film & Television Institute of India FTII Pune.  29. Awards 1. Beat Film Critic National Award, Rajasthan International Film Festival, Jaipur . 2020. 2. Best Film Journalist Award, LIFFT India Film Festival, Lonawala, Mumbai, 2020.  3. Pride of India Award, Khajuraho International Film Festival, 2020. 4. Jaiprakash Narayan International Award for Journalism, Delhi 2020 5.  Nat Samrat Best Theatre Critic Award, Delhi , 2020. 6.  Rang Sameeksha Samman, Ashirvad Rang Mandal, Begusarai, Bihar. 2018 7. . Rang Sameeksha Samman, Abhinaya  Rang Manch, Hisar, Haryana, 2016. 8. . Pride of India Award. 2012 9.  Natya Sameeksha Samman, Manch Rangmanch, Amritsar. Punjab.  2010 10 . Kala Sameeksha Samman, Abhinav Rang Mandal Ujjain, Madhya Pradesh. 2008.  11. Best Auther of the book 2022 Award. Rajasthan International Film Festival Jaipur 2023. 30. Published Books 1. Hindujas and Bollywood 2. Bollywood ki Buniyaad 3. Drishyantar 4. Andhere Men Chamakati Awazen 5. Two Decades of Jis Lahore Nai Wekhyan . All published by Vani Prakashan New Delhi.   Questions What is censorship in the context of films? Why do establishments feel the need of banning or censorship? When and why did it start? What’s Hays Code and what were the few important milestones in the evolution of censorship? May be just in the Indian context? Can you tell us if there is any official framework or guidelines for censorship in India? If yes, what are those guidelines? Who made these? When and why were these made? How objective are these? I guess, rules in censorship should be treated like Smrutis. They should change with time. Whats the challenge today? You strongly believe in that nothing should be censored. How do you justify it? Whats the difference between banning and censorship? What are your thoughts on banning? We as creators believe, movies are powerful, it can change narratives - so establishment will always interfere - What can be done as creators and also audience? Many people like Gorge Carlin challenged the establishments and boldly used “Seven Words You Can Never Say on Television”. We have many such examples. In my conversation with Varun Grover, even he mentioned that an artist never know the line until he/she crosses it. How can we see a society that allows these line to be crossed. Who can cross these lines? Is this a right question? What according to you is the future of censorship in India till we
In late 1800s, A Spanish architect, Antonio Gaudi, said, “There are no straight lines or sharp corners in nature. Therefore, buildings must have no straight lines or sharp corners”. But where does the nature stop and where does the building begin? Lets explore more about architecture and history in this 3 part series called, “An insert into the history”. This series is brought to you by, The Drawing Board, with whom I had partnered last year. The Drawing Board is an international architecture platform based in India. TDB has been actively running Architecture competition for under graduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders. This year, the program is to redesign the existing Badami archaeological museum, in Karnataka. Submission deadline is 9th Oct 2023. More details on thedrawingboard.in Today, in this concluding episode of this series, we have Ar. Sherman Stave with us on Audiogyan. Sherman is a Principal and Landscape Architect at STX Landscape Architects. With more than 30 years of experience. He has practised extensively in Asia and North America. His exposure to diverse cultures from an early age has lent him broad global perspective, and a deep appreciation of how shaping our environments can change our lives in fundamental ways. These are critical lenses that continue to inform his design approach. Questions Who is a landscape architect? What are the principles and strategies on which a landscape architect work? BV Doshi, once said, “Is the Architecture defined by theory or it’s a convention, or it is something which is rooted in the place?” How big or small overlap do you see between the landscape and the actual building or architecture? Incase of Badami, where and how would you draw the line? Brian O’Doherty’s famous line, “We have now reached a point where we see not the art but the space first.” What does it mean and where are you on this? How can landscape design contribute to the interpretation and visitor experience at any archaeological site? For instance, Badami, where the landscape itself is an integral part of the site's history? What considerations can be taken while designing architecture in such high sensitive historical landscape? When designing an archaeological site like Badami to ensure minimal impact? Since you are staying in Singapore and even I have recently moved there, I see some amazing work done by humans. The overall landscape is well thought. Can you share your learnings and experience? How can we be so close to nature yet seems to have so much command on it? Can you share any (2) examples of good museums or public spaces where they blend organically with nature? Reference reading The Drawing Board Architecture competition for Undergradute student 2024 Talk by Prashanth Pole | 27 Mar, 2021 | FA S21 Lecture series Gandhi Ashram Sabarmati Don Bosco Centre for Indigenous Cultures Badami- Learning from the Context- WCFA, Teepoi Mindspace Architects Rohan Builders https://www.siww.com.sg/home/attend/siww2021-online/thematic-webinars-tw/speakers-and-moderators/sherman-stave https://www.stxla.com/profile/ https://www.world-architects.com/en/stx-landscape-architects-singapore/team https://www.mnd.gov.sg/urbansustainability/webinars/liveability/abc-water-seminar-(liveability) https://www.ura.gov.sg/uol/publications/research-resources/plans-reports/Master%20Plan/~/media/User%20Defined/URA%20Online/publications/research-resources/plans-reports/pwip_urban_villages.ashx https://kimbellart.org/art-architecture/architecture/kahn-building https://www.salk.edu/ https://www.archdaily.com/61288/ad-classics-salk-institute-louis-kahn https://www.designcurial.com/news/louis-kahn---six-most-important-buildings-4323752/ https://en.wikipedia.org/wiki/Louis_Kahn
Frank Owen Gehry, a Canadian-born American architect and designer once said, “Architecture should speak of its time and place, but yearn for timelessness”. How can we long for timelessness in architecture if the place itself keeps changing? Lets explore more about architecture and history in this 3 part series called, “An insert into the history”. This series is brought to you by, The Drawing Board, with whom I had partnered last year. The Drawing Board is an international architecture platform based in India. TDB has been actively running Architecture competition for under graduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders. This year, the program is to redesign the existing Badami archaeological museum, in Karnataka. Submission deadline is 9th Oct 2023. More details on thedrawingboard.in In this second episode, “An insert into the history” (which is also the theme of the competition), I have a Prof. Durganand Balsavar. I interviewed him back in episode 249 in the last year’s TDB theme of designing a “Memorial for Charles Correa”. We spoke about intangible architecture. A quick introduction about Prof. Balsavar. He has been faculty for India Studios of Bartlett, Helsinki School of Architecture and involved in diverse cultural contexts - the Chandigarh Lab, IUAV Venice, Auckland, Indonesia, Nepal. He founded Artes-ROOTS Collaborative, which has been involved in an environment-appropriate architecture as a community participatory process. Questions If we look at Indian history and culture, how can one incorporate architectural elements that reflect diverse narratives in a museum projects? What can be the key principles on which this can be thought? History is told by the rulers. I believe you also have a special interest in Alternate Histories - What does it mean? So, If alternative histories often involve revisiting and reinterpreting established narratives. How does your architectural design support the reinterpretation of history within the museum context? Can you share your thoughts on the role of technology, such as interactive exhibits or virtual reality, in enhancing the visitor experience and storytelling within museums dedicated to archaeology and alternate histories? Can you share any unique architectural features or design elements that distinguish the Badami Archaeological Museum from other museums with similar themes? Badami is known for its cave temples and rock-cut architecture. What elements can be incorporated in storytelling and educational experiences? How do you see that helping the narrative of the museum in the modern world? Since the topic is, An insert into History, and your strong opinions on sustainability, What role does sustainability play in the design of the Badami Archaeological Museum, and how do you incorporate those elements into the architecture? Can you share any other museums you have studied or been part of that are worth studying and referenced? Nationally or internationally? Reference reading The Drawing Board Rohan Builders Mindspace Architects Charles Correa Charles Correa Foundation Culture Trip Down to Earth Durganand Balsavar Artesroots Duganand on Linkedin
BV. Doshi, once said, “A house is a grain, like a small sapling in the bio-diverse wild forest”. I wonder what a public space like a temple, a monument, museum, a park, an industrial zone, a 80 floor office tower or a man made landscape is? Lets explore more about architecture and history in this 3 part series called, “An insert into the history”. This series is brought to you by, The Drawing Board, with whom I had partnered last year. The Drawing Board is an international architecture platform based in India where students can test their understanding and skills in shaping the way communities live and thrive while preserving local heritage. TDB has been actively running Architecture competition for under graduate students since 2016. It is conceptualised by Mindspace Architects and Rohan Builders. This year, the theme is to redesign the existing Badami archaeological museum, in Karnataka. Submission deadline is 9th Oct 2023. More details in the show notes and thedrawingboard.in We begin this series with Ar. Prashant Pole. Prashant has a long and illustrious career that has spanned over three decades. His journey started with Naksha Architects in Bengaluru. He established his own firm, Genesis Architects in 1994 and has worked on single residences, apartments, offices, hotels and institutional buildings. Over these years, he has also been a visiting faculty at MCE Hassan, BIT Bangalore, SIT Tumkur, and USD Mysore. Aside from teaching, he has also been evaluating architecture design as a juror at various architecture schools in and around Bengaluru. We’ll be discussing what goes into making a museum. Questions What is the museum according to you? Why do we need them? Are there any special characteristics when it comes to Museum’s architecture? How can we optimise space to accommodate a wide range of exhibits while maintaining a seamless visitor experience? (Considering people coming from diverse background, language, ethnicity, abilities and more) Accessibility, sustainability, security, are few common and must have things for any architecture, what are few other guidelines when it comes to a place like Museum? Which are the famous museums in India and why? Since this year’s theme is redesign the existing Badami archaeological museum, how can we approach integrating the cultural diversity and historical significance of Badami into the design of a museum, ensuring it resonates with both local and international visitors? We say that “any place to be built should be built with the material found in 5KMs or it’s radius”. How true is it and why? How do you leverage local materials and craftsmanship to create a distinctive architectural identity for the museum, and what challenges might arise in this context? Lighting and climate control are crucial factors in preserving the artifacts. How can we go about creating and ideal environment yet ensuring it’s sustainable? We can consider Badami or any other museum (located in the such setup in India) What suggestions would you give those who wish to specialise in designing museums? Any extra attention in the context of Bandami museum? Reference reading https://wcfa.ac.in/staff/prashant-girish-pole/ https://www.youtube.com/watch?v=cj84z3FA0tU https://thedrawingboard.in https://thinkmatter.in/2020/09/15/an-ephemeral-lab-in-a-city-of-fixity/ https://www.bmsca.org/workshops.html https://www.gandhiashramsabarmati.org/en/ https://www.youtube.com/watch?v=a_U9rjdsmOg https://dbcic.org The Drawing Board Rohan Builders Mindspace Architects  
Satyajit Ray once said, “There is always room for improvisation”. I think this needs a lot more investigation. Referring to Ray’s comment on the room of improvisation, today we have the honour to have Dr Trina Banerjee with us on Audiogyan. We’ll talk about improvisation in the context of Theatre, Plays, Playwriting, and performing arts at large. Trina is an Assistant Professor in Cultural Studies at the Centre for Studies in Social Sciences, Calcutta. Her research interests include Gender, Performance, Political Theatre, Theories of the Body, Postcolonial Theatre and South Asian History. She has also been a theatre and film actress, as well as a journalist and fiction writer. Questions What according to you is improvisation? In how many ways do you see it manifesting? Where do we see it mostly happening? On streets? In life? or just creative endeavours? When do people improvise? What’s the motivation? Is it expressing themselves in different ways? Is it to communicate better with the other (State, society, individual)? Why do they do? Can you give any examples? What does it mean to improvise in the context of performing arts (Theatre, Dance, and more)? Are there categories or genres of improvisation which can be studied systematically? Did different forms of Theatre like the Theatre of Absurd or Pantomime and more emerge due to improvisation? When and why do people improvise on stage? When do we fail or when do we do something over and over again? Is it the boredom? Is it uncovering deeper layers as they keep performing or revisiting the text? When and how do improvisations become part of the main setup? As in, no longer be called improvisations? Has it happened that the playwright made changes to the original text as the years passed by? Reference reading https://www.cssscal.org/faculty_trina_nileena_banerjee.php https://www.instagram.com/trinanileena/ https://www.youtube.com/watch?v=OtYA-zEkMjI https://www.youtube.com/watch?v=Ti-bOIuUrwM https://www.youtube.com/watch?v=eArQSc9KDKo https://www.youtube.com/watch?v=T53FQ-m74Xg https://www.youtube.com/watch?v=DmPiN2Tp3W0 https://www.youtube.com/watch?v=oi-owRniSBM https://www.youtube.com/watch?v=5lX2_2cV9lY https://www.amazon.in/Books-Trina-Nileena-Banerjee/s?rh=n%3A976389031%2Cp_27%3ATrina+Nileena+Banerjee
I quote John McLaughlin “I find Indian music very funky. I mean it's very soulful, with their own kind of blues. But it's the only other school on the planet that develops improvisation to the high degree that you find in jazz music. So we have a lot of common ground.” Pushkar Lele and Kuldeep Barve joins us on Audiogyan and we will be talking about “Improvisation in music”. It’s going to be a bi-lingual conversation in English and Marathi. Pushkar is a renowned Hindustani classical vocalist and Founder-Director of ‘Gandhara School of Music’. More about his Gurus, rich repertoire and enriching journey of learning music in the show notes. Kuldeep is a classical guitarist. His practice is influenced by jazz and Indian classical music. He is a co-founder and a core member of the Pune Guitar Society. Welcome Pushkar & Kuldeep! It’s an honor to have you on Audiogyan. Thanks for giving your time. As I started of with John McLaughlin’s quote, I wanted to document some of your thoughts on “Improvisation” - when it comes to Hindustani Classical and Western Classical music with a lot of Jazz which I believe has a lot of improvisation. Just as a small plug, you can also listen to “Jazz in India” where I interviewed Denzil Smith in episode 133. Questions What according to you is improvisation in the broadest sense? What does it mean to improvise in a concert? When is it required? How spontaneous it is Do you see a similar pattern in a Western Classical performances? Or perhaps Jazz? Can we confidently say that each performance by Loius Amstrong was different even for the same set of tracks? Do you need to be qualified to improvise? If yes, when are you allowed to improvise in Guru Shishya Parampara? Do we have a lineage kind of a thing in Western music as well - which deals with improvisations? Especially in genres like Jazz, Blues or country? What is the difference between improvising, exploring or presenting with a different perspective? When do we call something is improvised? After how much deviation from originally planned is called improvisation? When does one improvise? When they do the same thing over and over again or when they see some room for exploration? What’s a more common pattern? What are the extents of improvisation? Whats at stake when an artist is improvising?  Can improvisations land in a loop of improvisations? How do you come back to the sthayi bhava? Does a well trained audience appreciate improvisations? When and how do improvisations become part of the main setup? As in, no longer be called as improvisations? Reference readings https://en.wikipedia.org/wiki/Pushkar_Lele https://www.facebook.com/lelepushkar/ https://map.sahapedia.org/article/Pushkar-Lele/2912 https://www.youtube.com/@lelepushkar https://soundcloud.com/pushkar-lele https://twitter.com/lelepushkar?lang=en https://map.sahapedia.org/article/Kuldeep-Barve/3004 https://www.instagram.com/kuldeep.barve/?hl=en https://www.linkedin.com/in/kuldeep-barve-4394514/?originalSubdomain=in https://puneguitarsociety.org/core-team/ https://twitter.com/mifya?lang=en https://soundcloud.com/kuldeep-barve https://www.academia.edu/33995371/Strings_attached_A_short_history_of_the_Western_classical_guitar_in_India_docx  
“Waste not, want not.” can be explained as “if you are not wasteful with the resources you have now, then at a later date you will have those resources to use as you want and need. By not wasting, you will not be needy later.” And today to discuss all about waste ecosystem and the sector at large, we have Rahul Nainani with us on Audiogyan. Rahul has a passion for sustainable policies that create value. With one eye on the bottom line and the other on tangible social impact, Rahul, along with his co-founder Gurashish Singh Sahni founded ReCircle in 2016, as an innovative, multifaceted solution to India’s burgeoning waste management woes. ReCircle has instituted flagship initiatives such as, ClimaOne, Plastic EPR Service, Plastic-Neutral programs and ground-level community collection drives. We’ll talking about this and more. Questions How do we define waste? What all broad categories of waste do we generate? Can you share some stats about waste generated in India every day? Perhaps about the waste ecosystem and the sector at large? How does the entire setup work? Which all entities are involved in handling waste? From collection at source to finally dumped or put for recycling? How do we do in comparison to other developing countries like us? How critical has been the impact of Swatch Bharat and other initiatives to entrepreneurs like you or the entire ecosystem? Tell us a little bit about ReCircle — how did you come to start it and why? Tell us about your team, initiatives, programs and everything. Right from Safai Saathis to governing bodies, how do you engage with them? What is ClimaOne? Tell us about other flagship initiatives under ReCircle? How has technology changed things for everyone in this ecosystem? How and where technology is applied? Waste management doesn’t sound very sexy. How do you attract talent and run the company? What is the future of Waste? Can we expect waste in Meta-verse? Can we expect India to be as clean as Singapore? Reference reading https://www.linkedin.com/in/rahulnainani https://www.mwcbarcelona.com/agenda/speaker/rahul-nainani https://twitter.com/rahul_nainani?lang=en https://www.instagram.com/rahulnainani18/ https://recircle.in https://www.theentrepreneursofindia.in/post/rahul-nainani-the-entrepreneurs-of-india-youngpreneur-magazine-august-2022 https://www.linkedin.com/company/recircleindia/?originalSubdomain=in https://www.eatmy.news/2023/07/rahul-nainani-gurashish-singh-sahni-how.html https://medium.com/worthwhile/in-conversation-with-rahul-naini-ceo-and-cofounder-of-recircle-52c31f156f41 https://www.linkedin.com/in/gurashish123/?originalSubdomain=in https://yourstory.com/companies/recircle https://www.thequint.com/explainers/explained-indias-cleanest-city-indore-is-earning-huge-bucks-from-its-garbage https://en.wikipedia.org/wiki/List_of_cleanest_cities_in_India https://theprint.in/india/these-are-the-secrets-to-indores-5-year-cleanest-city-streak-and-its-not-rocket-science/772362/ https://indianexpress.com/article/india/indore-cleanest-city-swachh-rankings-7632466/ https://en.wikipedia.org/wiki/Ambikapur,_Chhattisgarh https://india.mongabay.com/2023/05/ambikapurs-women-led-waste-management-system-also-generates-revenue-for-the-city/#:~:text=Ambikapur bagged a bigger recognition,best self-sustained small city.
Peter Brook the legendary English theatre and film director once said, ********“I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged.” Lets talk about the need for such a space with Atul Kumar. Atul Kumar is The Company Theatre’s founder member. An acclaimed actor and director with more than 30 years of performance experience, Atul has dabbled with different languages and forms of theatre & has showcased his work all over India & abroad. His basic performance training was in the traditional Indian dance and martial art forms of Kathakali and Kalerippayettu in Kerala for over three years as well as a stint with the master of visual theatre - Philippe Genty in France. More about him in the show notes. Today we’ll deep dive into The Company Theatre Workspace, Kamshet as a case study. Questions What is The Company Theatre Workspace at Kamshet? What inspired you to make such a place? Was it the influences from Aadishakti, Nrityagram or Footsbarn theatre group? There is a beautiful 10 minute video on youtube where you briefly explain the backstory of this place and how it came to be. Do you want to share more details like which were the other 3 spots you shortlisted and why chose this over others? Why was your “want to” list huge? What were your pre-requisites? Why do you call it a laboratory for theatre and performing arts? When I see your Instagram page, artists are doing all sorts of things from Tai Chi, Yoga to just running around and doing theatre drills, packed with high intensity body movements. What do you do in the space? You mentioned that “we don’t always expect artists to do something specific but just be by themselves”. How does this help? Reflection, introspection anything else? For outcome oriented projects, people need structure to think, how does this place facilitate it? (Philosophical) Everyone needs time to pause and reflect. Do artist need more of it? Why? Can you tell us more about the place? How does the place accommodate for experimentation? Geography, topology, open space, residency and other things about the place? What’s the future? Do we need more such spaces? Do we have similar places in India? Some mentions about your wonderful and dedicated to art team? Reference links https://www.instagram.com/atulkumartct/?hl=en https://twitter.com/atulkumartct https://www.imdb.com/name/nm1241640/ https://www.thecompanytheatre.net/team https://www.youtube.com/c/AtulKumarTheCompanyTheatre/videos https://www.youtube.com/watch?v=bm1h1CY-X1w https://www.youtube.com/watch?v=aJ6PfJEDOmc https://www.youtube.com/watch?v=RrKp30jP28o
Welcome back to Part 2. We were in conversation with Jan Schmidt Garre, film maker, producer and founder of PARS MEDIA. They make high-quality documentaries and feature films with a focus on classical music, dance, and the fine arts. In the previous episode, we spoke about “Making a documentary” and in this, we speak about his latest Documentary on Late Ar. B.V.Doshi called the “The Promise – Architect BV Doshi”.   Questions You have made 2 documentaries in the East. What fascinates you about the East, about India?  What makes you make films of Design, art, dance and such creative expressions. Why did you consider architecture to be part of art as a film maker? What is “The Promise – Architect BV Doshi”? How did the idea of documenting him come about? How did you discover Doshi’s and what drew you closer to him? There has been so much documentation on Doshi. What is your narrative in the film? In your interview with Ritupriya Basu, you said, “Doshi’s architecture must not be shown silently.” How did you manage to show the interactions between the architecture and their inhabitants? Whats the most enriching moment during your interaction with the legend and making of the film? I also happened to interview Doshi on Audiogyan. Every word he says is magical. Very difficult to cut things as they are lyrical and rhythmic. How did you go about editing this film. Seems like the toughest part of the adventure What was your biggest learning and takeaways from the experience? Can you share any anecdotes or experiences of chatting with him, going on a spiritual journey with so beautiful metaphors and explaining the most complex things with love. When are you showing the film in India? How can people watch it? Reference links https://www.parsmedia.com https://www.rottentomatoes.com/celebrity/jan_schmidtgarre https://www.instagram.com/janschmidtgarre/ https://www.delage-artists.com/en/artist/jan-schmidt-garre/biography/ https://www.imdb.com/name/nm0773272/ https://en.wikipedia.org/wiki/Jan_Schmidt-Garre  
“In feature films, the director is God; in documentary films, God is the director.” Alfred Hitchcock. Welcome to this 2 part series with Jan Schmidt Garre. First part is about “Making a documentary” and second part is his latest Documentary on Late Ar. B.V.Doshi called the “The Promise – Architect BV Doshi”. Jan Schmidt-Garre founded PARS MEDIA in 1988. It’s a production company for high-quality documentaries and feature films with a focus on classical music, dance, and the fine arts. His films have been broadcasted in over thirty countries.   Questions How true are things if they are not documented anywhere? How do you define private and public? (While documenting) How objective is / should be documentation? What are the rules or framework or principles while making a documentary? How you keep the purity and innocence of the moment or the story? Avoid colouring from the past and your own judgement? What qualifies to be documented? How does one start?  Is there a limit to what can be said in audio-visual format or film making? Can documentaries be dangerous? What’s more effective for story telling, making believable? when you witnessing and being part of the documentary or dramatising sections which you couldn’t be a part of? What are the top 3 attributes of a good documentary? (Personal) Since your documentaries are on Art, Music and dance, don’t you feel that you are missing out on actual moments of witnessing the event as oppose to filming it? We’ll continue this topic in part 2 since I wish to talk about film, The Promise, B.V. Doshi   Reference links https://www.parsmedia.com https://www.rottentomatoes.com/celebrity/jan_schmidtgarre https://www.instagram.com/janschmidtgarre/ https://www.delage-artists.com/en/artist/jan-schmidt-garre/biography/ https://www.imdb.com/name/nm0773272/ https://en.wikipedia.org/wiki/Jan_Schmidt-Garre  
Maa kaa aashirwaad, OK TATA Bye Bye, Hum Do Hamare Do, Mera Bharat Mahan - Sounds familiar? I am talking about the slogans written behind the truck. But we are not going to discuss those, rather the heavy vehicles on which these are written. Yes. Trucks. In 1911, truck designer Charles Martin built a gasoline-powered tractor to pull modified horse-drawn commercial wagons. His most significant innovation, however, was the fifth-wheel coupler. A round plate with a central hole, it attached to the top of tractor frames to connect and support trailers. Trucks are broadly divided into light-duty, medium-duty, and heavy-duty classifications depending on their weight. And in today’s episode, we will try and introduce ourselves to how are trucks designed. I am pleased to have Sathiya Seelan Gangaasalam with us on Audiogyan. He is currently Vice President of Design at Ashok Leyland. An industrial designer who has spent over 2 decades designing cars, trucks, busses, and three-wheelers. Sathiya is a Design thinker, mentor, and writer and also a passionate watercolor artist. Questions Can you paint us a landscape of Trucks and truck market in India? Who are the key players, what gets designed, manufactured in India and what’s imported and more? Which sectors use Truck the most and for what purpose? What are some of the principles on which a trucks are designed? How do you define success of a good truck design? Do we have further classification of sub categories within light-duty, medium-duty, and heavy-duty trucks? Specially for India? Can you tell us the brief stages involved while designing a truck or a heavy duty vehicle? From idea to hitting the market and evolution? Why do truck manufacturers usually design a new model about every five to seven years? Do we have special differences while designing heavy duty vehicles specifically for India? Do companies spend time designing accessories (Bells and Whistles) for a truck which is mostly meant for work? Tell us a little bit about the cabin - Safety features, Digital displays, Storage, Charging, Button start, sleeping, lights and more Reference Reading https://www.linkedin.com/in/sathiyaseelan-g-4bb95048/?originalSubdomain=in https://www.dsource.in/resource/history-automotive-design-india/top-automotive-designers-india/sathiya-seelan https://www.instagram.com/sathiyaseelangangasalam/?hl=en
16th July is World snake day - 4 days from today when this episode is released and on this occasion, we are doing a case study of Snake-a-doo, a board game about Snakes and Snake-bites. More than a million people have died due to snakebites in India in the past 20 years. “Snake-a-doo” is an original take on the conventional snakes and ladders game, only this time without any ladders (it only has snakes). It is geared towards education on 9 snake species commonly found in India including the 4 main venomous ones. Today we have Peeyush Sekhsaria who conceptualised the game and Khyati Pathak who designed it. Peeyush has a Masters's in Earthen Architecture from CRATerre, France, and an M.Phil in Geography from the Sorbonne, Paris. He is currently based out of Delhi working as a Consultant in the domains of Environment, Disaster Management, and Development. Khyati is a writer and a cartoonist. Passionate about policy frameworks and also the host of Puliyabaazi Podcast. Before we begin, I also want to call out the team who have designed this game with careful messaging, attractive colors, good photographs, and in the tradition of a good board game that will be fun and learning at the same time. Shubham Sayanke, Jose Louis, Parikshit Suryavanshi, Shashi Jha, and Vivek Sharma. Snake-a-doo has been brought to you by Indiansnakes.org and WASA Amravati. 50% of the profit from your purchase goes to support WASA, Amravati’s work in education on snakes and snake bite reduction, and 50% goes to support copies of the game for local groups. So head on to https://snakeadoo.wordpress.com to buy.   Questions What is Snake-a-doo? What made you come up with this idea? Can you briefly share some numbers related to “people dying due to snake bites, types of snakes, density of snakes in different areas within India, snake deaths, impact on food chain etc…” What was the process of making it? Initial iterations, user testing (🙂) getting it verified with experts and more? How did you adapt for tribal areas and villages? How and why did you pick on these 4 main venomous ones? And which are the other snakes which are non-poisonous What modification you made to traditional snakes and ladders. What were the challenges? Seems like you have added few things like, points and notes along with rescue kits. Tell us some bits about it Why did you decide to make on cloth and not a board or any other material? Seems like it’s not just for kids? Who can / should play this game? Why did you make in 3 sizes and 3 languages? Have you used local names for snakes? Can it be replicated by locals and regional people? How has the response been so far? How close we are to the Mission Zero Snake-bite Death. Is it possible? Reference reading https://snakeadoo.wordpress.com http://indiansnakes.org https://www.pashoopakshee.com/about-us https://www.facebook.com/peeyush.sekhsaria https://www.instagram.com/enthunature/ https://twitter.com/crepescularia www.peeyushsekhsaria.com https://www.facebook.com/groups/1534385603578576 https://www.instagram.com/snakeadoo/
As Scott Adams, an American author and cartoonist says, “Creativity is allowing yourself to make mistakes. Art is knowing which ones to keep.” In our today’s episode, we’ll try and understand who is making mistakes and who keeps the art. I am personally super interested in knowing how things unfold in this episode with Ujjwal Agarwal also known as Kala. Ujjwal is a generative artist whose works explore the intersection of art and technology through the use of algorithms and code. His art is characterized by intricate patterns and shapes that emerge and evolve organically from within the digital canvas. He creates art that is both structured and spontaneous, offering a glimpse into the complex interplay between order and chaos. Drawing inspiration from nature, music, and mathematics, KALA's art invites viewers to immerse themselves in a world of beauty and complexity. Kala has a degree in Computer Engineering from NIT Jaipur and a MA in Computational Arts from Goldsmiths University, London. We can call Ujjwal a multidisciplinary artist given his work in Design, music, and art. But in today’s conversation, we’ll deep dive into his artworks. Questions Broad What is Generative art / design? Because these days, Generative AI is a buzz word, how different or similar it is? How and where do you classify your style of work? Which genre, category does it belong? You work seems to be abstract. Can you help us understand the landscape of this kind of work by comparing it with the west or rest of the world? Artists, markets, etc…? - Just a sneak-peak As per the starting quote, what principles or prompts you use to curate or self critique your work? (Apart from looking good and feeling nice - usually which any artwork is judged) Work What do you do exactly? How do you make your art? How do you know the artwork is finished? Your work illustrates a lot of chaos, lines and abstract forms - Do they emerge organically due to the medium and means or you have something in mind before you start? How do you bring order to the chaos? (Little technical) Which softwares and consoles you use? Which are the applications commonly used for this kind of work? How do you start an artwork? Philosophy What the story behind Kala? What makes you interested in Music and Design also? Do you see a common underlying thread? What makes you say that tomorrow is made of art? Why do you think, Kala is black? What’s the future of art? Generative art according to you? What do you think we can see as artwork in 2050 or 2100 :) Reference Reading https://www.ujjwalagarwal.com/index.html https://www.artblocks.io/collections/presents/projects/0x99a9b7c1116f9ceeb1652de04d5969cce509b069/414 https://themethod.art/collections/ujjwal-agarwal-kala/time-pieces https://www.linkedin.com/in/ujjwalagarwal/    
Audiogyan trailer

Audiogyan trailer

2023-06-0201:48

Welcome to Audiogyan and I'm your host Kedar Nimkar. Audiogyan brings you conversations with the most influential figures in the Indian creative world - Artists, filmmakers, musicians, architects, writers, curators and designers. I had the honor of hosting remarkable guests like the late Ar. B.V Doshi, Sujata Keshavan, Varun Grover, Taufiwu Quereshi and many more… We deep dive into their philosophies to understand their worldview. I hope these enriching conversation fuel us with inspiration and understand design and art in the larger context. Subscribe and tune into Audiogyan on your favorite podcasting app or visit audiogyan.com for more details. Thanks for listening!
David M. Torn, an American guitarist, composer, and producer once said, “The original source of any loop is whatever your sound is, at the moment of input.” Well to unpack this and know more about looping, we have Vasuda Sharma with us on Audiogyan. Vasuda is a Singer, Songwriter, Producer, and Performer. In fact, being a performer, I have seen her live, playing multiple instruments and live looping at Blue Frog a long time ago. She is trained in Indian classical music. After composing many songs, she later decided to study music more rigorously. Vasuda studied Contemporary Writing and Production at Berklee. More about her in the show notes. We’ll try and understand some basics of looping in the context of music. Questions What is looping? (More abstract and philosophical) What is looping in the context of music? Is it close to tiling? Is it only to set the rhythm and to create a base texture or something more? Any short history about it? When and how did it start? How did you get into it? How do you arrive at a final song? What comes first while you create a track, the base cycle of looping or the tune or the lyrics, or anything else? I suspect these happen simultaneously due to their nature, but if we can break it to understand? 🙂 What’s the trip/kicks-in looping? On one side doesn’t it feel restrictive since you working in the same taal / tempo? No? Can you give an example of how looping can be explorative? What are the different approaches for looping as an art form? Any difference between live looping and recording? Is anything that is more challenging than others? What is the long-term future of looping in this digital world? Any artists to follow? Reference Reading https://www.vasudasharma.in/ https://open.spotify.com/artist/2ED6kjY3EyIRkxM2HAbrCL https://music.apple.com/in/artist/vasuda-sharma/403246645 https://twitter.com/vasudasharma https://www.youtube.com/channel/UCHvU7UkPj1jHpHbuletJzVg https://www.youtube.com/user/vasudasharma https://soundcloud.com/vasuda https://www.instagram.com/vasudasharma/ https://www.linkedin.com/in/vasuda-sharma-86262034/ https://mixtapelive.in/artists/vasuda-sharma/  
Kamini Rao has built giant cakes, designed cozy mountain homes and boozy retro diners, created fake airplanes, and architected a house for a doll. Although her work is deeply rooted in architecture and interior design, we will be talking about space, exhibition, and set design. She is a multidisciplinary designer with a focus on collective experiences using art and architecture. She founded Studio Slip in 2018 with the aim to bring an experimental approach to interior design. At SLIP, she heads a team of architects and designers and together they design cultural spaces, museums, and exhibitions but also work in the commercial and residential realm. Questions Let's start with what kind of work you exactly do. What are exhibition design and set design? What is the kind of brief you get? Which are the entities involved in any exhibition and while making a set; from a designer’s point of view? How does a space for an exhibition come to be? What are the steps involved in it? If you can explain with and example? How do you decide when to use a fake and when to get an original for a particular theme? How and from where do ideas come from since each theme will be different? From where do you seek inspiration? People involved in the exhibition, theme, objective of the project, or anything else? How much of overlap does architecture, interior design, industrial and furniture design have while designing an exhibition or making a set? Again if any example to explain? In design, we call the best design to be invisible design. How much of it holds true in spatial design? Can you share the most fun and exciting project you did and a few nuances of it? Maybe a little bit about the Doll Project or any of your miniature spaces? I have been to film sets and other productions. Usually, what's in the frame is clean while outside the frame it’s usually messy. Why? How does your designer in you make peace with it? What’s the future of space design, exhibitions, and real spaces where the world is moving towards a meta-verse? 🙂 Reference reading https://www.instagram.com/kaminira0/?hl=en https://studioslip.com/home https://worldarchitecture.org/architecture-news/evvvz/of-dioramas-dollhouses-and-design-collaboration-interview-with-ruchika-nambiar-and-kamini-rao https://studioslip.com/bodiesatsea-ncbs-exhibition-design https://tbcy.in/what-is-spatial-design-kamini-rao-founder-and-creative-director-studio-slip/  
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Comments (20)

Jinti Neog

Hello https://castbox.fm/va/4194176

Jul 3rd
Reply

Surya Prakash

A lively concise interview on the beauty of industrial design,It's role in society, implications on human emotions and the creating responsible design in the age of environmental, political and social challenges.

Dec 20th
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mukunda raju

nice pod cast

Aug 20th
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surendhar svs

more architecture talks would be nice

May 27th
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Shiva Lakshmanan

This is my first time in audiogyan. As an architect, I love the topics covered. Also, this is the first podcast where the anchor is an "active" listener. Keep up the good work.

May 21st
Reply (2)

Apoorv

I think you should record the intro again if you mess up so much.

May 3rd
Reply (1)

Vinay Mantri

I really appreciate your episodes. Good job!

Feb 4th
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dhananjai pande

can't wait for the next episode. really insightful conversation and I am really looking forward for the books.

Jan 23rd
Reply

Siddharth Sawant

Great effort. Some suggestions - Let the guests speak freely. avoid interrupting them - Ask open ended questions i.e. less of yes/no questions - Do not lead. let the guests speak their mind. it may or may not align with your previously held beliefs. - Do not try and corroborate ideas across different interviews. difference of opinions between guests is what let's us see the world from multiple viewpoints. - Have a strategy for the conversation. what do you want the listeners to get out of the podcast? e.g. are you introducing them to the guest or are you introducing the field that they work in? - Please invest in better recording equipment, also some investment in sound processing software. I greatly appreciate the hardwork that went into creating this unique podcast. keep it up. best wishes :)

Nov 15th
Reply (1)

Pratik keni

khup sundar 😊 fakt madhe madhe english bolaycha kami kela tr bara hoil

Oct 29th
Reply (1)

suhrid sukumar

Just try to interrupt the speakers a little less.. With your umms.. And aahh.. And okss..

Oct 24th
Reply (1)

Dhruva Rathod

Was waiting for Podcasts in Indian context and Indian design community.Good to see that

Jul 28th
Reply

samrat hazari

waoooww really appreciate your time and effort s thank you

Dec 19th
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Deepak Teji

nice

Sep 18th
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