PANNA

I may sound stupid, but i was visualizing a graph! Hehe! On the Y! axis, i have a scale which moves from "Actual to conceptual to Ideal" and on the X axis i have series of "Life events"! Well the funda is funny! We strive the ideal, absorb in conceptual till we realize the actual and work back on every life event! So...ideal demands dreaming, visualizing the most perfect aspirations, to achieve this we engage conceptually (plan, execute, list, decide, be practical etc). Many times we refuse to accept the actual (real pain which exists within us, deprived feelings within ourselves, inability to perform simple tasks, inability to love, devote, getting tired etc.)So mostly we are engaged between ideal and conceptual till we are deprived of basic things like food and water! Managing this fluctuation consciously (not by being lost) becomes our daily challenge! If we include actual in our tackling of life events, we may be merrier! I know its funny! I will stop here.........

An artiste commits to a state of mind and some people say moods but i defer from the word 'mood'. They are not moods but a deeper level of conscious commitments. When you listen to Nikhil ji, say Malkauns or Rageshri, the commitments of the sate of minds are very different. With Malkauns it can be an serious intellectual (questioning types) commitment, with Ragesri itmay be very "Human" (bonding, love, relationships) kinds of commitment. With Marwa or BilasKhani Todi, it can be enjoying the historical/cultural flavor. With Shree or Bhimpalas you may have very devotional commitment. Rag demands this commitment to showcase its beauty, just like a bird demands the honest attention and secured feeling of the human to make it come near him. Training oneself in aspects of loving, devotion, intellectual questioning, enjoying historical flavor, deep human actions are essential to express them through musical forms. An artiste just tries to do this with his medium. Its amazing...

User test results are like indicators bound by time and context. There are mere indicators. Narrative explanations are partly imagined, partly remembered, partly perceived,partly felt, partly realized, partly constructed. These stories may go wrong eventually but does give a material to explore for the designer to build. An insight is built as an overall narration of the observer to these tests and narratives. It is an interpretation of explanations and actions. Insights are therefore governed by questions of contexts like Business, User, Brand, Technology, Experience etc. Insights are pushed towards the arguments of truth (is it an hypothetical ideal?), nearing it with logic, reason or tools.

I don't know! :-) But i know they do create. Look at a hammer. What 'intents' does it create when a child encounters it? or For a normal guy? and for a carpenter? Hammer is not designed for children, but still they are able to hold it and bash up things around them! For a normal guy, the form to an extent may communicate the function to hit a nail or a pull a nail and the intent is created. For a carpenter, its a routine of repeated use and may be of a deep association or a memory or an attachment or even hatred sometimes.....For a normal guy it may give some initial ideas, may trigger some use and later fizzles out since he has no need of it. Anyways...the point is, how do objects like tools create intents of use to different people? Intents are important to accomplish purposes. What intents are triggered to an early user of a cricketing site? What other purposes does he have? How does the nature of use set into routine?

At college, we were taught to admire the modern attempts to design. Modernism justified functional parameters and postmodern attempts looked only intellectual attempts. It took almost 10 years for me to come out of this disconnected view of architecture and build a faith in my own understanding of our own architecture. Our traditional houses had a visual language laid out for us. Its planning had basis in Vaastu but i want to stress more on the visual language of our homes during the times when our grand parents lived. I will briefly explain my grand fathers house in my village called Asundi. I am greeted by a simple elevation, white walls with one main door and 2 small windows (its a hot dry region of north Karnataka. The entrance has a "katte" where my uncle and aunt, now my father love to sit and talk in the pleasant evenings. The main door has a wooden frame (hochalu, and the entrance and hochalu is hand drawn with rangolis. The entrance usually has image or symbol of the...

Every time i listen to our classical music...i withdraw two steps to learn something new. One is blessed to listen and appreciate good classical music. An artiste presents his prayer and you are privileged to share a joy with his affection of sound. A mutual sharing of spirit. The performance starts with a silence(aroop,absolute absence,null,abyss of silence)...i feel the highest form of beauty...'the nothing'...i feel very happy....later the tanpura welcomes...(pa/ma..sa,sa,sa mix)....tells us there is a shruti....singular divine sound... Next comes the Sat/chit....concentrating on ones own self and spirit...getting conscious...getting aware...getting into life.....(preparing oneself to pray) then starts the 'alap'....the painting of the rag only by the 'swars' and 'shruti', the melody is the physical output and your inner spirit is responsible for beauty.....'alap' is an environment of great forms of sounds....goal is to picture the rag rightl...

I see myself dragged into a lot of activities daily, into preoccupied thinking, into reactive states of mind, into the world of worries, into disturbance, into tiredness, into heaviness, into narrower space, into a dispersion, into the gray, towards the darkness, not a pure dark, into the shades.....i look for rest......then i do hope for the light