Kannada, Kannadiga, Kannadigaru, Karnataka,

Kannadigarella ondaagi Kannadavannu ulisona, kalisona and belesona

Kannada Fonts Piracy

Birth of Baraha, Fonts used in Nudi, GoK Cheated, Violation of IPR by VASU, KGP,

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.

Dr. U. B. Pavanaja

________________________

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PÉÆ£ÉUÉ ¸ÀgÁPÀgÀzÀ EZÉÒAiÀÄAvÉ “PÀ°vÀ” EzÀÄÝzÀÄ “£ÀÄr” JAzÀÄ ºÉ¸ÀgÀÄ §zÀ°¹ ¥ÀÆtð¥ÀæªÀiÁtzÀ ¸Á¥sïÖªÉÃgï DV ©qÀÄUÀqÉAiÀiÁ¬ÄvÀÄ. E°èUÉ PÀ£ÀßqÀzÀ°è ¸Á¥sïÖªÉÃgï vÀAiÀiÁj¹ ªÀiÁgÀĪÀ PÀA¥É¤UÀ½UÉ ªÉÆzÀ®£É ºÉÆqÉvÀ ©vÀÄÛ. DzÀgÉ PÀUÀ¥ÀªÀÅ ¸ÀgÀPÁgÀ ºÉýzÀ PÉ®ªÀÅ CA±ÀUÀ¼À£ÀÄß ªÀÄgÉvÉà ©nÖvÀÄÛ. GvÀÛªÀÄ UÀÄtªÀÄlÖzÀ ¥sÁAmïUÀ¼À£ÀÄß PÉÆqÀ®Ä CzÀPÉÌ ¸ÁzsÀåªÁUÀ°®è. EzÀPÉÌ ºÀ®ªÀÅ PÁgÀtUÀ½ªÉ. ªÉÆzÀ®£ÉAiÀÄzÁV PÀUÀ¥ÀzÀ°è ºÀ®ªÀÅ ªÀµÀðUÀ½AzÀ ¥sÁAmï vÀAiÀiÁj¹ C£ÀĨsÀªÀ«gÀĪÀ ¥ÀjtvÀj®è. EAvÀºÀ ¥ÀjtvÀgÀÄ CªÀgÀ CºÀðvÉUÀ£ÀÄUÀÄtªÁV ºÀt PÉüÀÄvÁÛgÉ. ¸ÀgÀPÁgÀ¢AzÀ ±ÀºÀ¨Á¸ï VnÖ¸ÀĪÀ DvÀÄgÀzÀ°è PÀUÀ¥ÀªÀÅ EAvÀºÀ ¥ÀjtvÀgÀÄ PÉüÀĪÀµÀÄÖ ºÀtªÀ£ÀÄß ¸ÀgÀPÁgÀ¢AzÀ PÉüÀzÉ MAzÉÆAzÀÄ ¥sÁAnUÀÆ Cw PÀrªÉÄ ºÀt PÉývÀÄÛ. PÀUÀ¥ÀªÀÅ ¥ÀjtvÀgÀ£ÀÄß ©lÄÖ K£ÉãÀÆ C£ÀĨsÀªÀ«®èzÀ PÉ®ªÀÅ «zÁåyðUÀ½UÉ ¥sÁAmï ªÀiÁqÀ®Ä £ÉëĹvÀÄ. EzÀjAzÀ PÀ£ÀßqÀ ¨sÁµÉAiÀÄ°è Cw PÉlÖ ¥sÁAmïUÀ¼ÀÄ vÀÄA§ÄªÀAvÁ¬ÄvÀÄ. ªÀÈwÛ¤gÀvÀ PÀA¥É¤UÀ¼ÀªÀgÀÄ FUÁUÀ¯É ¥sÁAmï vÀAiÀiÁj¹ ªÀiÁgÀĪÀÅzÀ£ÀÄß ¤°è¹zÁÝgÉ. PÀ£ÀßqÀPÉÌ GvÀÛªÀÄ ¥sÁAmïUÀ¼À PÁ® ªÀÄÄVzÀÄ ºÉÆìÄvÀÄ. PÀUÀ¥ÀªÀÅ PÀ£ÀßqÀ ¸Á¥sïÖªÉÃgï PÀA¥É¤UÀ¼À£ÀÄß PÉÆ®ÄèªÀÅzÀgÀ eÉÆvÉUÉ ¨sÁµÉAiÀÄ£ÀÆß PÉÆ®ÄèªÀÅzÀgÀ°è ªÀÄÄAzÁ¬ÄvÀÄ. EzÀgÀ°è PÉlÖ ¥sÁAmïUÀ¼À PÉÆqÀÄUÉ ªÉÆzÀ®£ÉAiÀÄzÀÄ. G½zÀÄzÀÄ ºÉÃUÉ JAzÀÄ ªÀÄÄAzÉ £ÉÆÃqÉÆÃt.

 

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PÀUÀ¥ÀªÀÅ MAzÀÄ zÉÆqÀØ ¸ÀA¸ÉÜ, £ÀÆgÁgÀÄ d£À ¸ÀzÀ¸ÀåjzÁÝgÉ JAzÀÄ ¤ÃªÀÅ ¨sÁ«¹zÀÝgÉ CzÀÄ vÀ¥ÀÄà. PÀUÀ¥ÀzÀ MlÄÖ ¸ÀzÀ¸ÀågÀ ¸ÀASÉå PÉêÀ® 65. CzÀgÀ®Æè ¸À¨sÉUÀ½UÉ ºÁdgÁUÀĪÀªÀgÀ ¸ÀASÉå 20£ÀÄß JAzÀÆ zÁn®è. PÀUÀ¥ÀzÀ DgÀA¨sÀzÀ°è ¸ÀAWÀ PÀlÖ®Ä JAzÀÄ ºÀt PÉÆlÖ J®ègÀ£ÀÆß ¸ÀzÀ¸ÀågÁV¸ÀzÉ CªÀgÀ ºÀtªÀ£ÀÄß zÉÃtÂUÉ JAzÀÄ ¥ÀjUÀt¸À¯ÁVvÀÄÛ. EzÀjAzÀ vÀªÀÄUÉ ¨ÉÃqÀªÁzÀ ªÀÄA¢AiÀÄ£ÀÄß zÀÆgÀ«lÖgÀÄ. PÀUÀ¥ÀPÉÌ ¸ÀzÀ¸Àå£ÁUÀÄvÉÛÃ£É JAzÀÄ §AzÀ JµÉÆÖà ªÀÄA¢AiÀÄ£ÀÄß EªÀgÀÄ zÀÆgÀ«lÖ GzÁºÀgÀuÉUÀ½ªÉ. £ÀAvÀgÀ PÀUÀ¥ÀzÀ DgÀA¨sÀzÀ°è ºÀ®ªÀÅ jÃwAiÀÄ°è PÉÆqÀÄUÉ ¤ÃrzÀªÀgÀ£ÀÆß zÀÆgÀ«lÖgÀÄ. ºÁVzÀÝgÉ EªÀgÀÄ AiÀiÁgÀÄ? JµÀÄÖ ªÀÄA¢? PÉêÀ® JgÀqÀÄ ªÀÄA¢. G½zÀAvÉ PÁAiÀÄðPÁj ¸À«ÄwAiÀÄ°è 13 d£ÀjzÀÝgÀÆ CªÀgÉ®è F JgÀqÀÄ d£ÀgÀÄ ºÉýzÀÝPÉÌ PÉÊ JvÀÄÛªÀªÀgÀÄ. F 2 d£ÀgÀ ªÉÄÃ¯É ¸ÀA¥ÀÆtð «±Áé¸À ElÖªÀgÀÄ. vÁ«lÖ «±Áé¸ÀPÉÌ F 2 ªÀÄA¢ zÉÆæúÀ §UÉAiÀÄÄwÛzÁÝgÉ JAzÀÄ CªÀjUÉ CjªÉà E®è. ºÀtPÁ¹£À «ªÀgÀ, vÁªÀÅ PÉÊUÉÆAqÀ, E£ÀÄß ªÀÄÄAzÉ PÉÊUÉƼÀî°gÀĪÀ ¸Á¥sïÖªÉÃgï ¥ÁæeÉPïÖUÀ¼À «ªÀgÀ, EvÁå¢UÀ¼À£ÀÄß F ¸ÀzÀ¸ÀågÀ CªÀUÁºÀ£ÉUÉ vÀgÀĪÀÅzÉà E®è. GzÁºÀgÀuÉUÉ EwÛÃaUÉ PÀUÀ¥ÀªÀÅ vÀAiÀiÁj¹zÀ “ªÉÃvÀ£À” JA§ ºÉ¸Àj£À ¸Á¥sïÖªÉÃgï£ÀÄß ¸ÀgÀPÁgÀªÀÅ vÀ£ÀßzÉà JAzÀÄ ©qÀÄUÀqÉ ªÀiÁrvÀÄ. PÀ£ÀßqÀ ¸Á»vÀå ¥ÀjµÀwÛ£À ¤WÀAl£ÀÄß PÀUÀ¥ÀªÀÅ vÀAiÀiÁj¹ PÉÆnÖzÉ (F ¹.r.AiÀÄ®Æè ºÀ®ªÀÅ vÁAwæPÀ vÉÆAzÀgÉUÀ½ªÉ). F JgÀqÀÄ PÉ®¸ÀUÀ¼À §UÉÎ AiÀiÁªÀÅzÉ ¸À¨sÉAiÀÄ°è wêÀiÁð¤¸À¯ÁV®è. AiÀiÁªÀ ¸ÀzÀ¸ÀåjUÀÆ PÀUÀ¥ÀªÀÅ EAvÀºÀ PÉ®¸À ªÀiÁrzÉ, ªÀiÁqÀÄwÛzÉ JA§ CjªÉà E®è. K£ÁzÀgÉãÀÄ PÀ£ÀßqÀPÉÌ M¼ÉîAiÀÄzÁzÀgÉ ¸ÁPÀÄ JA§ zsÉÆÃgÀuɬÄAzÀ CªÀgÀÄ ¸ÀĪÀÄä¤zÁÝgÉ.

 

¸ÀgÀPÁgÀªÀÅ PÀUÀ¥ÀPÉÌ ªÀ»¹zÀ “ªÉÃvÀ£À” ¸Á¥sïÖªÉÃgï vÀAiÀiÁjAiÀÄ PÉ®¸ÀªÀ£ÀÄß ¥ÀÆgÉʹzÀÄÝ PÀUÀ¥ÀzÀ ¥ÀæzsÁ£À PÁAiÀÄðzÀ²ðAiÀĪÀgÀ ªÀÄUÀ. DvÀ EwÛÃZÉUÀµÉÖ EAf¤AiÀÄjAUï ªÀÄÄV¹ GzÉÆåÃUÀ ºÀÄqÀÄPÀÄwÛzÀÝ. CªÀ¤UÉ MAzÀÄ C£ÀĨsÀªÀ ªÀÄvÀÄÛ ºÀt ¨ÉÃPÁVvÀÄÛ. ¥ÀæzsÁ£À PÁAiÀÄðzÀ²ðAiÀĪÀgÀÄ UÀÄnÖ£À°è F JgÀqÀÄ PÉ®¸ÀUÀ¼À£ÀÄß ªÀiÁr¹PÉÆAqÀgÀÄ. ¸ÀgÀPÁgÀPÉÌ K£Éà PÉƼÀî¨ÉÃQzÀÝgÀÆ mÉAqÀgï PÀgÉAiÀĨÉÃPÀÄ. DzÀgÉ PÀUÀ¥ÀPÉÌ ªÀ»¸À¨ÉÃPÁzÀgÉ mÉAqÀj£À vÉÆAzÀgÉ E®è. PÉêÀ® ªÀÄÆgÀÄ ®PÀë gÀÆ¥Á¬ÄUÀ½UÉ F ¸Á¥sïÖªÉÃgï vÀAiÀiÁgÁVzÉ JAzÀÄ ªÀiÁ»w vÀAvÀæeÕÁ£À E¯ÁSÉAiÀÄ »A¢£À ¤zÉÃð±ÀPÀgÀÄ ¥ÀwæPÁ UÉÆöÖAiÀÄ°è ¥ÀæPÀn¹zÁÝgÉ. E°è ¸ÀgÀPÁj C¢üPÁjUÀ¼ÀÆ ¥Á®Ä ¥ÀqÉ¢zÁÝgÉAiÉÄà JAzÀÄ UÉÆwÛ®è. eÉãÀÄ ©r¹zÀªÀ£ÀÄ PÉÊ £ÉPÀÌ¢gÀÄvÁÛ£ÉAiÉÄÃ? FUÀ UÉÆvÁÛVgÀ¨ÉÃPÀ®èªÉÃ, PÀUÀ¥ÀªÀÅ AiÀiÁPÉ ¤dªÁzÀ D¸ÀPÀÛgÀ£ÀÄß ªÀÄvÀÄÛ ¥ÀjtvÀgÀ£ÀÄß zÀÆgÀ«qÀ®Ä ¥ÁægÀA©ü¹zÉ JAzÀÄ?

 

PÀUÀ¥ÀªÀÅ ²µÀÖvÉ §UÉÎ vÀÄA§ ¨ÉƨÉâ ºÉÆqÉAiÀÄÄwÛzÉ. PÀ£ÀßqÀ ¸Á¥sïÖªÉÃgï vÀAiÀiÁgÀPÀgÀÄ ²µÀÖvÉAiÀÄ£ÀÄß ¥Á°¸ÀzÉ PÀ£ÀßqÀ ¨sÁµÉUÉ C£ÁåAiÀÄ ªÀiÁqÀÄwÛzÀÝgÀÄ. £ÁªÀÅ CzÀ£ÀÄß ¸Àj¥Àr¹zÉÝÃªÉ JAzÀÄ PÉÆaÑPÉƼÀÄîwÛzÁÝgÉ. CªÀgÀÄ ²µÀÖvÉAiÀÄ£ÀÄß JµÀÄÖ ¥Á°¸ÀÄwÛzÁÝgÉ JA§ÄzÀ£ÀÄß £ÉÆÃqÉÆÃt. PÀ£ÁðlPÀ ¸ÀgÀPÁgÀzÀ PÀ£ÀßqÀ ªÀÄvÀÄÛ ¸ÀA¸ÀÌøw E¯ÁSÉAiÀÄ ªÉ¨ï¸ÉÊn£À ¤ªÀiÁðt ªÀiÁrzÀÄÝ PÀUÀ¥À (kar.nic.in/samskruthi). EzÀ£ÀÄß vÉgÉAiÀÄ®Ä ¥ÀæAiÀÄwß¹. ªÉÆzÀ®£ÉAiÀÄzÁV EzÀÄ PÉêÀ® ¥sÁè±ï DªÀÈwÛAiÀÄ£ÀÄß ºÉÆA¢zÀÄÝ JµÀÄÖ ¤zsÁ£ÀªÁV §gÀÄvÀÛzÉAiÉÄAzÀgÉ CzÀÄ ¥ÀÆwðAiÀiÁV ªÀÄÆr§gÀĪÀµÀÖgÀ°è PÀ£ÀßqÀ ¨sÀªÀ£ÀPÉÌà ºÉÆÃV ©qÀ§ºÀÄzÀÄ! ºÉZÁÑV ªÉ¨ï¸ÉÊmï ¤«Äð¸ÀĪÀªÀgÀÄ ¥sÁè±ï ªÀÄvÀÄÛ PÉêÀ® ¥ÀoÀåUÀ¼À JgÀqÀÄ ¨ÉÃgÉ ¨ÉÃgÉ DªÀÈwÛUÀ¼À£ÀÄß ºÁQ ¨ÉÃPÁzÀ DªÀÈwÛAiÀÄ£ÀÄß Dj¹PÉƼÀÄîªÀ ¸ÁévÀAvÀæöåªÀ£ÀÄß «ÃPÀëPÀjUÉ ©qÀÄvÁÛgÉ. E°è ºÁV®è. E£ÀÄß ²µÀÖvÉAiÀÄ£ÀÄß UÀªÀĤ¸ÉÆÃt. F ªÉ¨ï¸ÉÊn£À°è G¥ÀAiÉÆÃV¹gÀĪÀÅzÀÄ DPÀÈwAiÀĪÀgÀ ¥sÁAl£ÀÄß. CzÀÄ ¸ÀgÀPÁgÀzÀ ²µÀÖvÉUÉ M¼À¥ÀnÖ®è. PÀUÀ¥ÀªÀÅ vÁ£ÀÄ vÀAiÀiÁj¹zÀ ªÉ¨ï¸ÉÊn£À¯Éèà ²µÀÖvÉAiÀÄ£ÀÄß PÁ¥ÁrPÉÆAr®è JAzÀAvÁ¬ÄvÀÄ! “£Á£ÀÄ ºÉýzÀAvÉ PÉüÀÄ. £Á£ÀÄ ªÀiÁrzÀAvÉ ªÀiÁqÀ¨ÉÃqÀ” JA§ zsÉÆÃgÀuÉAiÉÄÃ?

 

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PÀUÀ¥ÀzÀªÀgÀÄ °£ÀPïì£ÀªÀjUÉ ¸ÀºÁAiÀÄ ªÀiÁqÀ¢gÀĪÀÅzÀÄ ªÀiÁvÀæªÀ®è ªÉÄÊPÉÆæøÁ¥sïÖ£À vÀÄvÀÆÛjAiÀÄ£ÀÄß ¥ÀgÉÆÃPÀëªÁV HzÀÄwÛzÁÝgÉ. CzÀÄ ºÉÃUÉAzÀgÉ CªÀgÀÄ vÀAiÀiÁj¹zÀ £ÀÄr ¸Á¥sïÖªÉÃgï PÉêÀ® ªÉÄÊPÉÆæøÁ¥sïÖ «AqÉÆøï PÁAiÀiÁðZÀgÀt ªÀåªÀ¸ÉÜAiÀÄ°è (operating system) ªÀiÁvÀæ PÉ®¸À ªÀiÁqÀÄvÀÛzÉ. CªÀgÀÄ ªÉÄÊPÉÆæøÁ¥sïÖ ªÀqïðUÉ ªÀiÁvÀæ CPÁgÁ¢ «AUÀqÀuÉUÉ mÉA¥ÉèÃmï PÉÆnÖzÁÝgÉ. ¸ÀA¥ÀÆtð ªÀÄÄPÀÛªÁVgÀĪÀ N¥À£ï D¦üùUÉ CPÁgÁ¢ «AUÀqÀuÉAiÀÄ mÉA¥ÉèÃmï ¤Ãr®è. CzÉà jÃw £ÀÄrAiÀÄ, ¸ÀA¥ÀÆtð ªÀÄÄPÀÛ PÁAiÀiÁðZÀgÀt ªÀåªÀ¸ÉÜAiÀiÁVgÀĪÀ, °£ÀPïì DªÀÈwÛAiÀÄ£ÀÄß vÀAiÀiÁj¹®è. EzÀjAzÁV ªÉÄÊPÉÆæøÁ¥sïÖUÉà ¯Á¨sÀªÁVgÀĪÀÅzÀÄ. CµÀÄÖ ªÀiÁvÀæªÀ®è ªÉÄÊPÉÆæ¸Á¥sïÖ£ÀªÀgÀÄ vÀªÀÄä JPïì¦AiÀÄ°è PÀ£ÀßqÀzÀ AiÀÄĤPÉÆÃqï ¤ÃrzÁÝgÉ. AiÀÄĤPÉÆÃqï GvÀÛªÀÄ vÀAvÀæeÕÁ£À JA§ÄzÀgÀ°è C£ÀĪÀiÁ£À«®è. “£ÀÄrAiÀÄ°è AiÀÄĤPÉÆÃqï E®è, DzÀÄzÀjAzÀ £ÀªÀÄä JPïì¦ vÉUÉzÀÄPÉÆ½î” JAzÀÄ ºÉüÀ®Ä ªÉÄÊPÉÆæøÁ¥sïÖ£ÀªÀjUÉ PÀUÀ¥ÀzÀªÀgÉà C£ÀĪÀÅ ªÀiÁrPÉÆnÖzÁÝgÉ.

 

ºÁVzÀÝgÉ FUÀ ¸ÀgÀPÁgÀ K£ÀÄ ªÀiÁqÀ¨ÉÃPÀÄ? ¸Á¥sïÖªÉÃgï ¥ÀjtvÀgÀÄ, PÀA¥É¤UÀ¼ÀÄ, EvÀgÀ D¸ÀPÀÛgÀ£ÀÄß «±Áé¸ÀPÉÌ vÉUÉzÀÄPÉƼÀîvÀPÀÌzÀÄÝ. J®ègÀ£ÀÆß zÀÆgÀ«lÄÖ E§âgÀ£Éßà £ÀA§ÄªÀÅzÀÄ PÀ£ÀßqÀPÉÌ M¼ÉîAiÀÄzÀ®è. PÀ£ÀßqÀ PÀA¥ÀÆålgï QæAiÀiÁ AiÉÆÃd£É ªÀÄÄAzÀĪÀjAiÀÄ°. DzÀgÉ EzÀgÀ ºÉ¸Àj£À°è UÀÄnÖ£À ªÀåªÀºÁgÀ ¸À®è.

 

ºÀt PÀAqÀgÉ ºÉtªÀÇ ¨Á¬Ä ©qÀÄvÀÛzÉ. DgÀA¨sÀzÀ°è M¼ÉîAiÀÄ GzÉÝñÀªÉà EzÀÝgÀÆ ºÀt §gÀ®Ä ¥ÁægÀA¨sÀªÁzÉÆqÀ£É d£À §zÀ®ÄvÁÛgÉ. DgÀA¨sÀzÀ°è EzÀÝ ¸ÁªÀiÁfPÀ PÁ¼Àf ºÉÆÃV CzÀgÀ eÁUÀzÀ°è zÀÄgÁ¸É DPÀæ«Ä¹PÉƼÀÄîvÀÛzÉ JA§ÄzÀPÉÌ PÀUÀ¥À GvÀÛªÀÄ GzÁºÀgÀuÉ.

 

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