Maintaining the State’s place as a higher education hub

Maintaining the State’s place as a higher education hub

M. Veerappa Moily

http://www.hindu.com/2006/10/25/stories/2006102509750400.htm

 

To mark Suvarna Karnataka, The Hindu will run a series of articles, beginning with this one, on different facets of the State’s economic, educational and developmental experience over the past 50 years, to culminate on November 1, the State formation day. We will have articles by experts and committed individuals who have been major forces in shaping policy and moulding opinion.

 

Bangalore: Till the mid-1950s, the demand for professional education in the State was met by colleges established by the Government. Gradually, the clamour for professional education grew in intensity.

Social awakening and the spread of literacy made people realise that professional education led to social and material advancement. The demand for seats in professional colleges grew by leaps and bounds. Before long it became plain to everyone concerned that the State, with limited resources available for expenditure on professional education, could not fulfil the spiralling demand.

In this background private initiatives came in handy to extend professional education to those who wanted it. The pioneering effort in implementing this self-financing concept was made in Manipal in 1953. Many others followed and a large number of such colleges came to be established in the State in the late 1960s and 1980s.

A uniform feature of these private colleges is their reliance on contributions from parents of students, and the public, for the establishment and maintenance of the colleges. The fees collected by these colleges are invariably high.

Ideal policy

An ideal policy for admission of students to professional colleges should ensure selection of the best and the highest quality of education in the institutions to which they are admitted. Only the attainment of these twin objectives can ensure that the very best professionals walk out of the portals of our professional institutions. This absolute principle may, of course, have room for a reasonable amount of dilution dictated by the demand for social justice. So categorisation based on social backwardness can be justified within constitutional limits.

Professional workforce

The prosperity of a nation largely depends on the talent and expertise possessed by its professional workforce. There is no frontline nation in the world that does not have a highly efficient and dynamic army of dedicated professionals. Our country today needs the ultimate professional skills to nudge it into the top league and enhance the welfare of the people.

Professional education, therefore, deserves the highest priority of the Government. It should fully tap the abundant talent to produce highly skilled engineers, doctors and technocrats.

Karnataka was the pioneer in ensuring transparency, equality, fair play, social justice and excellence in admissions to professional colleges by introducing the Common Entrance Test in 1993. This pioneering effort was jeopardised by the Supreme Court judgment of 2002 in the T.MA. Pai case. The State Government will have to come out with a strategy to ensure that Karnataka does not lose its reputation as the hub of higher education in the wake of the judgment.

Manpower quality

The State can be the hub of higher education in not only engineering and medicine but also other fields like management. Bangalore is known as India’s Silicon Valley because of the quality of manpower available in abundance. That pool of talent has to be constantly revitalised and replenished.

(Mr. Moily is a former Chief Minister of the State and Chairman, 2nd Administrative Reforms Commission, Government of India.)

Ambareesh’s elevation a solace to Vokkaligas

Ambareesh’s elevation a solace to Vokkaligas

S. Rajendran

http://www.hindu.com/2006/10/25/stories/2006102517470100.htm

A boost to Congress campaign in Chamundeshwari bypoll

 

 

---

He is the first film personality from State to make it to the Union Ministry S.M. Krishna and Tejaswini Sriramesh were among the aspirants AFTER A LONG WAIT: M.H. Ambareesh being sworn in Union Minister of State in New Delhi on Tuesday. — Photo: Shanker Chakravarty     BANGALORE: The elevation of M.H. Ambareesh, three-time member of the Lok Sabha from Mandya and noted film artiste, as a Union Minister of State may have come a day late but nevertheless it has pleased the dominant Vokkaliga community in Karnataka to which he belongs. Mr. Ambareesh, who is from Malavalli in Mandya district, is the grandson of late Vidwan T. Chowdiah who played the seven-string violin, and is the first Kannada film artiste and of the film industry here to be made a Union Minister. He now joins the select band of film industry people such as the late Sunil Dutt and Shatrughan Sinha who made it to the Union Ministry. Karnataka, however, continues to be denied a Cabinet Minister at the Centre with the other three — Oscar Fernandes, M.V. Rajasekharan and K.H. Muniyappa — being Union Ministers of State. Mr. Ambareesh’s entry into the Union Ministry is expected to give a boost to the Congress party in Karnataka in general and the Vokkaligas therein in particular. The Vokkaligas in the Congress have received a shoddy treatment for several years now and have even complained to the Congress high command about this. The Vokkaligas have no representation in the Rajya Sabha and in the All-India Congress Committee. The other dominant community in the State, Veerashaivas (Lingayats), also have a similar complaint although Mr. Rajasekharan was accommodated in the Union Council of Ministers in 2004. Mr. Ambareesh’s elevation is expected to give a boost to the Congress campaign in the prestigious byelection to the Chamundeshwari Assembly Constituency in Mysore. Soon after Prime Minister Manmohan Singh announced that an expansion of the Union Cabinet was round the corner, there were many aspirants from the Congress in Karnataka seeking to be a part of the Ministry. Topping the list was Governor of Maharashtra S.M. Krishna, who is keen on getting back to active politics. The others included Tejaswini Sriramesh who believed that she should be a choice since she was the “giant killer” in the 2004 general elections when she defeated former Prime Minister H.D. Deve Gowda in Kanakapura. Credit should go to the erstwhile Janata Dal for inviting Mr. Ambareesh (56), who at the time was at the peak of his film career, to join politics. The party fielded him in the byelection to the Legislative Assembly from Ramanagara after Mr. Deve Gowda vacated the seat on being elevated as Prime Minister. Although he lost the elections to C.M. Lingappa, Mr. Ambareesh maintained interest in politics and won the 1998 elections to the Lok Sabha by a handsome margin. With general elections repeating in 1999, he maintained his victory margin, and won again for the third time in 2004. With the Congress winning only eight of the 28 seats it was widely believed that he would be inducted into the Cabinet straightway. Mr. Ambareesh, who reached New Delhi on Monday after being called by the Prime Minister’s office, told The Hindu , “I owe my elevation as Union Minister to the people of Mandya and my fans all over the State. Although I am still not aware of my portfolio, I will do my best for the people of Karnataka and the Congress party. My induction is a case of better late than never.”

Karnatakadalli prajasattaatmaka sanskrutiyedege-Kannada essay by …

ಕರ್ನಾಟಕದಲ್ಲಿ ಪ್ರಜಾಸತ್ತಾತ್ಮಕ ಸಂಸ್ಕೃತಿಯೊಂದರ ಕಡೆಗೆ

ಲೇಖನ/ಪ್ರಬಂಧ/ವಿಮರ್ಶೆ

ಕರ್ನಾಟಕದಲ್ಲಿ ಪ್ರಜಾಸತ್ತಾತ್ಮಕ ಸಂಸ್ಕೃತಿಯೊಂದರ ಕಡೆಗೆ

– ಕೆ.ಎನ್.ಹರಿಕುಮಾರ್

ಕಡೆಗೂ ಸರ್ಕಾರ ಒಂದು ಕಡೆಗೆ ವಿರೋಧ ಪಕ್ಷಗಳ ಜೊತೆಗೆ, ಇನ್ನೊಂದು ಕಡೆಗೆ ಕನ್ನಡ ಸಾಹಿತಿಗಳು ಮತ್ತು ಅವರ ಹಿಂಬಾಲಕರ ಜೊತೆಗೂ ಅಂತಿಮ ರಾಜಿಯೊಂದನ್ನು ಮಾಡಿಕೊಂಡಿತು. ಈ ಚಳವಳಿ, ಅದರ ಒತ್ತಾಯಗಳು, ಹಿನ್ನೆಲೆಯ ಸಿದ್ಧಾಂತ-ಇವೆಲ್ಲ ಎಷ್ಟು ಅವೈಚಾರಿಕವಾದದ್ದು ಎಂಬುದನ್ನು ಈ ರಾಜಿಸೂತ್ರ ಸಿದ್ಧಪಡಿಸಿತು. ಈಗ ಒಪ್ಪಿತವಾಗಿರುವ ಸೂತ್ರದಲ್ಲಿರುವ ಸಂದಿಗ್ಧಗಳನ್ನು ನೋಡಿದರಂತೂ ಈ ಅಂಶ ಮತ್ತಷ್ಟು ಸ್ಪಷ್ಟವಾಗಿ ಎದ್ದು ಕಾಣುತ್ತದೆ. ವಾಸ್ತವವಾಗಿ, ಈ ಸೂತ್ರದಲ್ಲಿ ಕನ್ನಡಿಗರು ಹಾಗೂ ಕನ್ನಡೇತರರಿಬ್ಬರಿಗೂ ಅನ್ಯಾಯವಾಗುವ ಸಾಧ್ಯತೆಗಳು ಹೆಚ್ಚಿವೆ. ಇಲ್ಲಿಯ ಮೊದಲ ಸಮಸ್ಯೆ ಎಂದರೆ, ಕನ್ನಡೇತರ ಭಾಷಿಕರನ್ನು ಗುರುತಿಸುವುದಾದರೂ ಹೇಗೆ ಎಂಬುದು? ಇದನ್ನೇ ಬೇರೆ ಮಾತಲ್ಲಿ ಹೇಳುವುದಾದರೆ; ಕನ್ನಡ ಮಾತನಾಡುವ ಜನರೇ ಗ್ರೇಸ್ ಅಂಕಗಳ ಸಲುವಾಗಿ ತಾವು ಕನ್ನಡತೇತರ ಭಾಷಿಕರು ಎಂದು ಹೇಳುವುದನ್ನು ತಪ್ಪಿಸುವುದಾದರೂ ಹೇಗೆ? ಈಗ ಪ್ರತಿ ದಿನವೂ ಮೇಲು ಜಾತಿಯ ಜನ ಎಸ್.ಸಿ.ಎಸ್.ಟಿ, ಬಿ.ಸಿ. ಇತ್ಯಾದಿ ಸರ್ಟಿಫಿಕೇಟ್ ಪಡೆದು ಮೀಸಲಾತಿ ಮತ್ತು ಇತರೆ ಸೌಲಭ್ಯಗಳನ್ನು ಪಡೆಯುತ್ತಿದ್ದಾರಲ್ಲ. ಅದಕ್ಕಿಂತ ಇದು ಹೇಗೆ ಭಿನ್ನವಾಗುತ್ತದೆ? ಎರಡನೆಯ ಸಮಸ್ಯೆ ಎಂದರೆ, ಯಾರಾದರೂ ಒಬ್ಬ ನಿರ್ಧಿಷ್ಟ ವ್ಯಕ್ತಿ ಕನ್ನಡೆತರ ಭಾಷಿಕ ಎಂದು ಪರೀಕ್ಷಕನಿಗೆ ತಿಳಿದು ಬಂದಾಗ, ಆತ ಮೊದಲು ಅವನಿಗೆ ಕಡಿಮೆ ಅಂಕ ಹಾಕಿ, ನಂತರ ಈ ಗ್ರೇಸ್ ಅಂಕಗಳನ್ನು ಸೇರಿಸಲು ಸಾಧ್ಯವಿದೆಯಲ್ಲ. ಈ ಮಾಹಿತಿಗಳನ್ನು ಸಂಪೂರ್ಣವಾಗಿ ರಹಸ್ಯವಾಗಿಡಲು ಸಾಧ್ಯವಿದೆಯೇನು? ಮೂರನೆಯದಾಗಿ, ಗ್ರೇಸ್ ಅಂಕಗಳನ್ನು ಸೇರಿಸಲಾಗಿದೆ ಎಂಬ ಅಂಶವನ್ನು ಮಾರ್ಕ್ಸ್‌ಕಾರ್ಡಿನಲ್ಲಿ ಸೂಚಿಸಿಬಿಟ್ಟರೆ ಉನ್ನತ ವಿದ್ಯಾಭ್ಯಾಸ, ಉದ್ಯೋಗಗಳಿಗೆ ಹೋಗುವ ಅಭ್ಯರ್ಥಿಗಳು ಅನೇಕ ರೀತಿಯ ತೊಂದರೆಗಳಿಗೆ ಸಿಕ್ಕಿಹಾಕಿಕೊಳ್ಳುತ್ತಾರೆ. ಉದಾಹರಣೆಗೆ- ಸಂಬಂಧಪಟ್ಟ ಅಧಿಕಾರಿಗಳು ಈ ಗ್ರೇಸ್ ಅಂಕಗಳನ್ನು ದುರುಪಯೋಗಪಡಿಸಿಕೊಳ್ಳುವ ಸಾಧ್ಯತೆ ಉಂಟು. ಜೊತೆಗೆ, ಭಾಷಿಕ ಮತ್ತು ಧಾರ್ಮಿಕ ಅಲ್ಪಸಂಖ್ಯಾತರ ವಿರುದ್ಧ ಪೂರ್ವಗ್ರಹಗಳು ಹೆಚ್ಚುತ್ತಲೇ ಹೋಗುತ್ತವೆ. ಇಂಥ ಸನ್ನಿವೇಶಗಳನ್ನು ಎದುರಿಸುವ ಬದಲು ಅಲ್ಪಸಂಖ್ಯಾತರು ಈ ಅವಕಾಶವನ್ನು ಬಿಟ್ಟು ಕೊಡುವ ಸಾಧ್ಯತೆಗಳು ಹೆಚ್ಚು.

FOR MORE of this article READ:

http://kannadasaahithya.com/uniarc/index.php?layout=main&cslot_1=213

KANNADA IPR STOLEN by KANNADIGA, then gets AWARDS and FELICITATIONS. Still going on…

“ಬರಹ” ತಂತ್ರಾಂಶದ ಶೇಷಾದ್ರಿವಾಸು ಚಂದ್ರಶೇಖರ್‌ರವರೊಡನೆ ಒಂದು ಸಂವಾದ ಹಾಗು ಅವರಿಗೆ `ನಲ್ನುಡಿಗಳ ಸತ್ಕಾರ” ಕಾರ್ಯಕ್ರಮ.

 Sheshadri Vasu writes:
I honestly admit that I have used the glyphs from one of the Akruti fonts in Baraha 1.0, and I was not very serious to mention about it.
When I released Baraha 1.0, I didn’t know it will become popular and used by many people. It was only an experiment which I wanted to share with my family and friends.

Pavanaja writes:

A. Baraha / VASU has copied and used one font from Akruti software. This font is

one of the many fonts bundled with current version of Nudi. But morally, ethically

and legally, this amounts to violation of intellectual property rights. After a long gap

of six years, recently (2004), Vasu admitted that he used the glyphs from Akruti

fonts, in a mail to S K Anand.

ONLY KANNADIGAS CAN DO THIS !!!!!!

THAT IS THE REASON KANNADA SOFTWARE DEVELOPMENT GOING BACKWORDS.

Mr. Sheshadri Vasu’s email to Mr. S. K. Anand

“ಬರಹ” ತಂತ್ರಾಂಶದ ಶೇಷಾದ್ರಿವಾಸು ಚಂದ್ರಶೇಖರ್‌ರವರೊಡನೆ ಒಂದು ಸಂವಾದ ಹಾಗು ಅವರಿಗೆ `ನಲ್ನುಡಿಗಳ ಸತ್ಕಾರ” ಕಾರ್ಯಕ್ರಮ

—– Original Message —–
From: Sheshadrivasu Chandrasekharan <baraha@hotmail.com>
To: <anand@cyberscapeindia.com>
Sent: Tuesday, June 22, 2004 10:18 PM
Subject: From Sheshadrivasu Chandrasekharan

> Dear Mr. S.K. Anand,
>
> I recently saw a remark from you in one of the postings in an Internet
> newsgroup which goes as follows…
>
> “We who have been developing such fonts (AKRUTI) well over two decades would
> not like a repeat of the experience, we had when our fonts were pirated off
> the Web and used without acknowledgement, first by an individual who went on
> to release a free software…”
>
> I thought you may be referring to Baraha software in the above remark, and
> hence is this email.
>
> When I started developing a Kannada software, I had no knowledge of fonts at
> all. I experimented a lot with various Kannada fonts available in the
> Internet, including Akruti. This research helped me to understand the
> technology behind the Kannada fonts and I learnt a lot from these software.
> Initially, I wanted Baraha compatible with other Kannada fonts. But due to
> various limitations of such fonts, I had to come up with my own encoding.

I honestly admit that I have used the glyphs from one of the Akruti fonts in Baraha 1.0, and I was not very serious to mention about it.
When I released Baraha 1.0, I didn’t know it will become popular and used by many people. It was only an experiment which I wanted to share with my family and friends.

“ಬರಹ” ತಂತ್ರಾಂಶದ ಶೇಷಾದ್ರಿವಾಸು ಚಂದ್ರಶೇಖರ್‌ರವರೊಡನೆ ಒಂದು ಸಂವಾದ ಹಾಗು ಅವರಿಗೆ `ನಲ್ನುಡಿಗಳ ಸತ್ಕಾರ” ಕಾರ್ಯಕ್ರಮ

HOW CAN THIS HAPPEN ?????????????

> But later, when Baraha became popular, for copyright reasons, I had to add
> my own fonts for Kannada and other languages. I have created many new font
> styles, which don’t exist in any other Kannada software. My intention was to
> provide the facility for basic documentation needs of Kannada. It was not my
> intention to copy or re-create various Kannada font styles that are
> available in other packages. Instead I have focussed more on portability of
> Kannada text from Baraha to other software such as Akruti, ShreeLipi, e.t.c.
>
> Through this mail I would like to express my grattitude to various other
> Kannada software for helping me to acquire the knowledge.

My acknowldgements to Akruti software for providing the glyphs which were used in the intial releases of Baraha.

I apologise for this delayed acknowledgement.

>
> Regards
> Vasu
> ***********************************************************
> Free Kannada/Devanagari software – http://www.baraha.com
> ***********************************************************

The above email from VASU of BARAHA shows the ADMISSION and ACKNOWLEDGEMENT and GUILT.

” I honestly admit that I have used the glyphs from one of the Akruti fonts in Baraha 1.0, and I was not very serious to mention about it.” Sheshadri Vasu.

“ಬರಹ” ತಂತ್ರಾಂಶದ ಶೇಷಾದ್ರಿವಾಸು ಚಂದ್ರಶೇಖರ್‌ರವರೊಡನೆ ಒಂದು ಸಂವಾದ ಹಾಗು ಅವರಿಗೆ `ನಲ್ನುಡಿಗಳ ಸತ್ಕಾರ” ಕಾರ್ಯಕ್ರಮ

AKRUTI fonts developed by Mr. S. K. Anand.

MR. S. K Anand is also making a CHARGE on KGP and it’s Executives for using his AKRUTI FONTS to develop KALITHA/NUDI Kannada Software and selling it GoK.

“ಬರಹ” ತಂತ್ರಾಂಶದ ಶೇಷಾದ್ರಿವಾಸು ಚಂದ್ರಶೇಖರ್‌ರವರೊಡನೆ ಒಂದು ಸಂವಾದ ಹಾಗು ಅವರಿಗೆ `ನಲ್ನುಡಿಗಳ ಸತ್ಕಾರ” ಕಾರ್ಯಕ್ರಮ

Submitted by ravee… on Mon, 23/10/2006 – 01:07.

Start: 29 Oct 2006 – 10:00am

Timezone: Asia/Calcutta

ಕನ್ನಡಸಾಹಿತ್ಯ.ಕಾಂ ಬೆಂಬಲಿಗರ ಬಳಗ,  ನಂ. 1855, 6 ನೆ ಎ ಮೈನ್,
೨ನೇ ಸ್ಟೇಜ್, ಡಿ ಬ್ಲಾಕ್,
ರಾಜಾಜಿನಗರ,
ಬೆಂಗಳೂರು-೧೦
kannadasaahithya@yahoogroups.com
ದೂರವಾಣಿ:: 9845696565

ಸ್ನೇಹಿತರೆ, 

ಬೆಂಬಲಿಗರ ಬಳಗವು, ಅಂತರ್ಜಾಲದಲ್ಲಿ ಕನ್ನಡದ ಅತ್ಯುನ್ನತ ಸಾಹಿತ್ಯವನ್ನು ಬೆಳೆಸುತ್ತಲೇ ಅಂತರ್ಜಾಲಕ್ಕೆ ಹೊಸ ವ್ಯಾಖ್ಯಾನವನ್ನು ತೆರೆದಿಡುತ್ತಾ ಬಂದಿರುವ ಕನ್ನಡಸಾಹಿತ್ಯ.ಕಾಂ ಗಾಗಿ ಮೀಸಲಾಗಿರುವ ಯುವ ತಂಡದ ಬಳಗ.

ಈ ಬಳಗವು ಇದೇ ೨೯ ರಂದು “ಬರಹ” ತಂತ್ರಾಂಶದ ಶೇಷಾದ್ರಿವಾಸು ಚಂದ್ರಶೇಖರ್‌ರವರೊಡನೆ ಒಂದು ಸಂವಾದ ಹಾಗು ಅವರಿಗೆ `ನಲ್ನುಡಿಗಳ ಸತ್ಕಾರ” ಕಾರ್ಯಕ್ರಮವನ್ನು ಹಮ್ಮಿಕೊಂಡಿದೆ. ಕಾರ್ಯಕ್ರಮದ ಅಧ್ಯಕ್ಷತೆ: ಪಿ ಶೇಷಾದ್ರಿ, ಕನ್ನಡ ಸಿನಿಮಾ ನಿರ್ದೇಶಕರು

ಸ್ಥಳ: ಕರ್ನಾಟಕ ಕಾರ್ಯನಿರತ ಪತ್ರಕರ್ತರ ಸಂಘ, ಹಳೆ ಜಿಲ್ಲಾಧಿಕಾರಿಯವರ ಕಚೇರಿ ಆವರಣ.

ವೇಳೆ: ಬೆಳಿಗ್ಗೆ: ೧೦.೦೦

“ಬರಹ” ದ ಬಗೆಗೆ: ಭಾರತದ ಎಲ್ಲ ಭಾಷೆಗಳ ಬಳಕೆಯನ್ನು ಒಂದೆಡೆಯಿಂದಲೇ ಸರಳವಾಗಿಸಿರುವ ಈ ತಂತ್ರಾಂಶವು ಉಚಿತವಾಗಿ ಅಂತರ್ಜಾಲದಲ್ಲಿ ದೊರೆಯುತ್ತಿದ್ದು, ಇದನ್ನು ಜಗತ್ತಿನಾದ್ಯಂತ ೨೦ ಲಕ್ಷಕ್ಕೂ ಅಧಿಕ ಮಂದಿ ಬಳಸುತ್ತಿದ್ದಾರೆ

ಶೇಷಾದ್ರಿಯವರ ಬಗೆಗೆ: ಮುನ್ನುಡಿ, ಅತಿಥಿ, ಬೇರು ತುತ್ತೂರಿಯಂತಹ ಚಿತ್ರಗಳ ನಿರ್ದೇಶನಕ್ಕಾಗಿ ರಾಜ್ಯ ಹಾಗು ರಾಷ್ಟ್ರೀಯ ಪ್ರಶಸ್ತಿಗಳನ್ನು ಗಳಿಸಿ ಕಿರುತೆರೆ, ಡಾಕ್ಯುಮೆಂಟರಿ ಮುಂತಾದ ಕ್ಷೇತ್ರದಲ್ಲೂ ಮನ್ನಣೆ ಗಳಿಸಿರುವ ಸೃಜನಶೀಲರು.

– ಈ ಕಾರ್ಯಕ್ರಮಕ್ಕೆ ಆಗಮಿಸಿ, ನಮ್ಮನ್ನು ಪ್ರೋತ್ಸಾಹಿಸಬೇಕಾಗಿ ಮನವಿ

ಕಿರಣ್ ಎಂ
ಬಳಗದ ನಿರ್ವಾಹಕ

krnsmyle@yahoo.com

__________________

Pavanaja writes:

A. Baraha / VASU has copied and used one font from Akruti software. This font is

one of the many fonts bundled with current version of Nudi. But morally, ethically

and legally, this amounts to violation of intellectual property rights. After a long gap

of six years, recently (2004), Vasu admitted that he used the glyphs from Akruti

fonts, in a mail to S K Anand.

B. C. V. Srinatha Sasthry (CVSS),and G. N. Narsimha Murthy (GNNM), of KGP / KAGAPA,

have told lies to me and cheated GoK by supplying them with pirated fonts. [ GoK

has paid 30 Lakhs for NUDI Fonts ]

C. As per my knowledge CVSS got this conversion of font

encodings done by someone here at Bangalore itself. The fonts

were not made from scratch at Koppa. This is clear violation of

intellectual property rights.

Font issues -Akruti, Baraha and Nudi

by U B Pavanaja,

Date: 7/29/2004 12:18:00 PM Pacific Daylight Time

Birth of Baraha

I had put up Kannada’s first web-site called Vishva Kannada during Dec. 1996 with the support of S K Anand of Cyberscape. Dynamic font technology was not being used by Vishva Kannada at that time. Akruti fonts were given for download at the web-site. Users have to download the font, install it in their PC and then they could read the Vishva Kannada web-site in Kannada. Sometimes in the first half of 1997, I got an email from Sheshadri Vasu who was at USA. In that mail he appreciated Vishva Kannada. He added that it takes a long time to copy characters through CharMap (an utility present in Windows to copy a glyph of a font into any application) and make a Kannada sentence.

I explained him how to type in Kannada using the keyboard driver which has to be bought from Cyberscape.

I gave the contact details of S K Anand and the approximate price of the software also. Then there was no mail from Vasu for some time. (Recently, during his visit to India in June 2004, Vasu wrote an article for Vijaya Karnataka, wherein he mentioned the discussions he had with me about the relation between font and keyboard driver).

One day I got an email from Vasu saying that he has made a software called Baraha that can be used as an editor for Kannada. He wrote that he wanted to give this software free to everyone. The version sent to me was a beta version. He had actually written an editor for the font he downloaded from the web. I asked him about the copyright of the font. He had not thought anything about that.

I explained to him the he need to take the permission of S K Anand of Cyberscape to use Akruti fonts in his software. He included the Kan Ballal font which was given to read Udayavani web-site with the first release of Baraha, which was given to some select friends only. Later on he changed the ASCII values of the glyphs of Akruti font and released the Baraha package officially.
His idea was that just by changing the ASCII values of the glyphs, his font becomes different from Akruti font. But morally, ethically and legally, this amounts to violation of intellectual property rights.

After a long gap of six years, recently (2004), Vasu admitted that he used the glyphs from Akruti fonts, in a mail to S K Anand.

Fonts used in Nudi

Now let me discuss the about the fonts bundled with Nudi. Nudi was initially thought as a testing software. This was made into a package later on. Myself and Harsha (the programmer who did the coding for Nudi) were opposing the release of Nudi without our own professional fonts. Making a font is an elaborate process. Artists have to draw each character (glyph) on paper, they have to be scanned, digitized, hinted, etc. It takes months for each font. C V Srinatha Sasthry (CVSS), Chief Secretary, Kannada Ganaka Parishat (KGP), told me that he got the font made from someone before submitting the final package to GoK.

In one of the executive committee meeting S K Anand and myself questioned CVSS about who made the fonts, how much was paid to him, etc. G N Narsimha Murthy (GNNM), Secretary, KGP, gave a reply that someone at Koppa made the fonts. I mentioned that KGP should have the complete record of making of the fonts like original drawings by the artist, first raw digitized data, the final font, etc. GNNM promised to get all these from Koppa and show to us in the next meeting. He never bothered to do that.

I came to know about the entire story about fonts much much later. Initially I used to believe the statements of CVSS about the fonts. But it took almost 2 years for me to accidentally discover the truth. While experimenting with opentype font creation, I was studying the glyphs of all Kannada fonts.

When I opened Baraha, Akruti and Nudi fonts in a font editing software, I found that they all have the same glyph sets, even though their ASCII values are different. As Sathyanarayana has detailed in his write-up, the glyphs from Akruti fonts were used in the first version of Baraha, which was then used in the first version of Nudi. As per my knowledge CVSS got this conversion of font encodings done by someone here at Bangalore itself. The fonts were not made from scratch at Koppa. This is clear violation of intellectual property rights. I had a strong and heated argument with CVSS and GNNM about one or two months before the elections to the executive committee of KGP.

I blasted CVSS for misleading me and telling lies to me that the fonts were developed at Koppa. CVSS and GNNM have told lies to me and cheated GoK by supplying them with pirated fonts.

Definitely my position became very awkward that I being the mentor and the person in charge of Nudi in the initial stages was not informed of these backdoor activities by CVSS. I fired both CVSS and GNNM left and right. At that time GNNM even challenged me to prove these in the court along with S K Anand who had already threatened to sue KGP for violation of intellectual property rights.

Vasu’s justification and the realities

With this background let me discuss a bit of what Vasu has written in a document and widely circulated in mailing lists. This document is also present in his Baraha discussion group (groups.msn.com/baraha). Let me quote from this document-

—————– Begin ———————————

USA courts have long back decided that fonts can’t be copyrighted AT ALL! Here, the digital outline can never be protected. According to them there can’t be any original font style, because, every font is created by slightly modifying some other font, and there aren’t really “new” font designs! See the following excerpts from the law…

“The Copyright Office has decided that digitized representations of typeface designs are not registerable under the Copyright Act because they do not constitute original works of authorship. The digitized representations of typefaces are neither original computer programs (as defined in 17 U.S.C. 101), nor original databases, nor any other original work of authorship.”

So, in a font, the name, any programming code not describing the font design are all that can be copyrighted. This leaves the door open in the USA to have anyone pay for the output of each character from a typesetter and re-digitize it or extract the design from a font program (and rename it), easily duplicating the design. Most foundries have very similar fonts derived from work largely designed by others. More information about font/copyright can be found at http://ssifonts.com/Myths.htm

———————- End —————————-

Vasu is very cleverly and conveniently quoting from a web-site put up in the year 1997 and has not been updated afterwards. There is a reason for this site not being updated afterwards. This refers to the classic legal battle between Adobe and SSI. Southern Software Inc. (SSI) used to copy and rename fonts from Adobe and others. They thought they were safe from prosecution because, though they had directly copied the points that define the shapes from Adobe’s fonts, they had moved all the points just slightly so they were not technically identical. Nevertheless, in his 1998 judgment, the judge determined that the computer code had been copied:

The evidence presented shows that there is some creativity in designing the font software programs. While the glyph dictates to a certain extent what points the editor must choose, it does not dictate every point that must be chosen. Adobe has shown that font editors make creative choices as to what points to select based on the image in front of them on the computer screen. The code is determined directly from the selection of the points. Thus, any copying of the points is copying of literal expression, that is, in essence, copying of the computer code itself.

SSI lost the legal battle at the courts. Judgment was in favor of Adobe. Hence SSI did not update their web-site. Vasu is conveniently quoting from this web-site. One can read in detail about this case in the following web-sites:-

http://scripts.sil.org/cms/scripts/page.ph…UNESCO_Font_Lic

http://directory.serifmagazine.com/Ethics_…/judgement.php4

http://www.ipcounselors.com/19980309.htm

When we conducted a opentype font workshop at Bangalore during March 2003, there was a talk on IPR issues related to fonts by Lawrence Liang, who is an expert on cyber laws. He had discussed this Adobe vs SSI case.

Vasu’s interview to Deccan Herald and my comments

Vasu gave an interview to Deccan Herald during his visit to Bangalore in June 2004. Here are some excerpts and my comments on them:-

VASU:> “Then, I, along with Ganaka Parishad and the State Government worked to bring Kannada software for official use”, he (Vasu) said.

PAVANAJA: I don’t remember any of such efforts by Sheshadri Vasu. In fact Vasu was very reluctant to implement the GoK standard for font and keyboard. There was a heated argument between Dr Panditharadhya and K T Chandrashekharan, father of Vasu, in this connection. All along the time Shasthry, Narasimha Murthy and Panditharadhya were advocating that Baraha killed Kannada while Nudi saved it! Vasu did implement the keyboard and font standards after repeated appeals by Shrinatha Shasthry and Narasimha Murthy.

VASU: > Baraha 4.0 was the first software that was implemented in Government offices with font styles.

PAVANAJA: I don’t think this statement of Sheshadri Vasu is true. There were many Kannada software being used in state govt much much before KGP, Nudi or Baraha came into existence.

VASU > But the Ganaka Parishad and the State Government have introduced Nudi software as a benchmark system.

PAVANAJA: If Vasu were to introduce the GoK standards much earlier than the release of Kalitha (Nudi), Nudi would not have come into existence.

VASU > Unfortunately for me, the government is insisting the use of Nudi software.

PAVANAJA: Why should be unfortunate to him? He is not selling Baraha.

VASU > While Baraha has fulfilled the terms and conditions put forth by the Government, including stipulations such as keyboard and transliteration, I wonder why they are forcing departments to use only Nudi”, he said. One of Baraha’s many advantages, according to Vasu, is that it allows a person who knows Kannada to type it in English fonts. He felt preference of software (Baraha or Nudi) should be left to end user.

PAVANAJA: Why the choice should be only between Nudi and Baraha, both of them are obsolete in the current and future time where Unicode is the world standard? Actually the choice should be between Windows XP/2003, Mac, Linux, Solaris, Java Desktop, Unix, etc. all are having Unicode compliance.

Meeting with Vasu in June 2004

Vasu was felicitated by Upasana in Bangalore during his visit in June 2004. I met him during that function. I discussed many things in general like Unicode features, facility needed in Baraha to convert RTF and HTML documents into Unicode, etc. Casually I asked him where from he is getting the fonts for his Baraha package. As per his answer, there is an artist in Bangalore who draws the shapes on paper and sends them to him. He (Vasu) scans, digitizes and makes them into fonts. I did not discuss anything about the Akruti font issue.

Conclusion and request

Baraha has copied and used one font from Akruti software. This font is one of the many fonts bundled with current version of Nudi.

I have written everything that I know about the font issues pertaining to Akruti, Baraha and Nudi. My intention is to bring out the truth, however bitter it is. I have no personal animosity with anyone whose name appears in this write-up. Please read this objectively and subjectively. That is, do a vasthunistha (objective) reading rather than a vyakthinishta (subjective) reading.

Thanks for your patience and time.

Hampi Integrated Master Plan to be notified in 2 months

Hampi Integrated Master Plan to be notified in 2 months
Bellary | October 23, 2006 7:30:16 PM IST

An Integrated Master Plan (IMP), facilitating major developments in the world heritage site of Hampi in accordance with the UNESCO guidelines, has been prepared and will be notified in two months.

Interacting with newspersons here today, Deputy Commissioner Arvind Srivastav, also the Chairman of Hampi Site Development Authority (HDA), said the IMP would be notified after hearing objections, if any, from the public through gram sabhas. The draft was finalised on August 28 last.

The IMP, sent to the Government, included acquisition of 233 acres of land where agriculture activities were being undertaken.

Based on the IMP, a revised estimate plan had been sent to HUDCO for funds, he added.

Mr Srivastav said that as most part of the Hampi world heritage site and its cultural contents were outside official protection, a heritage site management plan was the need of the hour. The National Institute of Design (NID) report advocated three principal zones — core, buffer and peripheral. However, this report was nearly denoted by arbitrary lines, which did not conform to the ground reality.

The IMP would throw light on protection of monuments, coming under Central and State Archaeological departments. Initially, over 41 sqkm were declared as protected area, but later it was extended to 1,056 sqkm, including the core, buffer and peripheral zones.

Without any scientific reason, 56 monuments coming under the central archaeological department have been declared as protected monuments.

However, in 2002, the HDA had brought 1,600 monuments spread over 41 sqkm under the core zone to be protected. About 900 main monuments fall within 25 sqkm and it was the responsibility of the Archaeological Socity of India to maintain and protect them. The protection of the remaining area would be done with media understanding. The proposed core zone included the entire Hampi site with a part of Kamalapur. This had been divided into three parts — residential, expansion and agricultural zones, he explained.

UNI XR GD VD DB1908

KANNADA BLOGS

KANNADA BLOGS

 

http://kaalachakra.blogspot.com/

 

http://kaalachakra.blogspot.com/2006_08_01_kaalachakra_archive.html

 

http://asatoma-sadgamaya.blogspot.com/

 

http://manadamaatu.blogspot.com/2006/08/blog-post_11.html

 

http://daari-deepa.blogspot.com/

 

http://antaranga.blogspot.com/

http://antaranga.blogspot.com/2006/09/blog-post_29.html

 

 

http://srujana-kannadiga.blogspot.com/

http://srujana-kannadiga.blogspot.com/2006/03/blog-post.html

 

http://tale-harate.blogspot.com/

 

 

http://majavani.blogspot.com/2006/06/blog-post_22.html

 

http://agaseya-amgala.blogspot.com/

http://agaseya-amgala.blogspot.com/2006/02/blog-post_16.html

 

http://kannadablogs.blogspot.com/2006/01/no-choice.html

 

Dr.Rajkumar — Belur, kannada nadu

Belur, kannada nadu

http://video.google.com/videoplay?docid=-4360967796777090025&q=KANNADA

 

 

 Dr.Rajkumar – Post Cremation Formalities(Thanks E-TV Kannada)

http://video.google.com/videoplay?docid=7984249896527962372&q=KANNADA

KANNADA Songs and Movies

Ramya and Dino Morea in sensual mood

http://theindiancities.wordpress.com/tag/india/karnataka/kannada-movies/

 kannada H2o songs

http://www.youtube.com/watch?v=_wA25emw1Fk

 maduve aagona ba kannada movie song shiv maduve aagona ba kannada movie song shivarajkumar …

http://www.youtube.com/watch?v=iDmsKTqr0u4&mode=related&search=

namma samsara.. ananda sagara…bale bangara

http://www.youtube.com/watch?v=xICXxw5JS6o&mode=related&search=

satya harishchandra song plus Dr. Raj demise news

http://www.youtube.com/watch?v=NF67jMFwYy8&mode=related&search=

NADA GEETHE LANDS IN DANCE ROW

NADA GEETHE LANDS IN DANCE ROW

http://www.starofmysore.com/main.asp?type=news&item=11050

Mysore, Oct. 22 (KMC)- The Naada Geethe of Karnataka is entangled in yet another controversy, even before the controversy over its tune is resolved.

The new controversy is about whether Naada Geethe could be choreographed. There are no instances of dances performed to the tune of national anthem in our country. People show their reverence to the anthem in a different manner, but not dance.

The controversy cropped up after a dance was performed to the tune of Naada Geethe in front of the Vidhana Soudha on Monday last by the artistes of Bhramara team, as part of the Janapada Jathre witnessed by the Chief Minister H.D. Kumaraswamy and Home Minister M.P. Prakash.

As part of Kuvempu’s birth centenary celebrations, the then State Government led by S.M. Krishna had officially declared Kuvempu’s poem Jaya Bharatha Jananiya Thanujathe as Naada Geethe. In the order passed then, it was stated that while the Naada Geethe is sung, those present must stand up in respect.

At the function held on Monday, the audience stood up when the Naada Geethe was sung, even without the compere requesting the people to do so. But the dance raised some eyebrows, leading to controversy.

The dance choreographed to Naada Geethe by a team led by Karnataka Nataka Akademi Chairman Srinivas G. Kappanna’s daughter, was impressive. The concept of incorporating folk art also was praised by the same persons who have questioned the propriety of the dance to Naada Geethe.

Rashtra Kavi::Committee selects GSS unanimously

Committee selects GSS unanimously

DH News Service Mysore/Bangalore:

http://www.deccanherald.com/deccanherald/oct222006/state21545120061020.asp

Noted poet G S Shivarudrappa’s name has been recommended for awarding of the third ‘Rashtra Kavi’ title by the selection committee headed by noted litterateur Prof De Javaregowda.

Highly placed sources, on the condition of anonymity, disclosed that an unanimous decision was arrived at in this regard at the committee meeting held on Thursday at Kannada Bhavan in Bangalore and the recommendation had already been forwarded to the government. At the meeting, chaired by Prof De Javaregowda, Suvarna Karnataka Cell Secretary I M Vittalamurthy, Kannada and Culture Department Commissioner K R Niranjan, Kannada Development Authority Chairman Siddalingaiah, Hampi University Vice Chancellor B A Vivek Rai, writer Kamala Hampana were present, according to the sources. Also, the sources said that poet K S Nisar Ahmed sought prior permission for his absence while Baragur Ramachandrappa failed to turn up. However, writer Siddalinga Pattanashetty has not been attedning the meetings.

Though Jnanapeetha awardee Da Ra Bendre’s name was mentioned at the meeting, the committee turned it down as the guidelines did not permit giving the title posthumously. The sources also added that the idea was dropped as the selection could have become more difficult to decide among the illustrious list of writers like Da Ra Bendre, Shivarama Karantha and Pu Thi Narasimhachar. Pampa Award was also cited as an example in this regard.

Some of the members mooted the names of writers K S Nisar Ahmed, Channaveera Kanavi and Chandrashekara Kambara for consideration, it is said.

The sources revealed that most of the 25 literary persons who were consulted by the committee had also suggested Prof G S Shivarudrappa.

When contacted on Friday, Mr Nissar Ahmed said, after Kuvempu the title can go to no one but late Da Ra Bendre.

He claimed that the argument that only a living poet could be chosen as the State poet was just an imperial baggage. When titles like ‘Bharata Ratna’ are conferred posthumously, there should be no reservations on conferring the ‘Rashtra kavi’ title posthumously. The title can be given every five year once.

He said poet-laureates like Kuvempu and Da Ra Bendre were trendsetters and stalwart. While Kuvempu was a modern poet, Da Ra Bendre was the master poet who imbued the folk elements into poetry. Therefore, this time round, there was no giving the title to anyone but Da Ra Bendre.

Ms Kamala Ham Pa Na declined to comment on the various names that were considered. The committee looked into the works of the poets in contention and the awards and titles that have hitherto come their way, she said.

On the question of bestowing the honour posthumously, she noted, that the related question would then be – ‘for how long’ should will the award rest with the posthumous party? “Suppose we give it to Da Ra Bendre, when will the next selection be made”, she queried.