Live from New York, it's theCUBE. Covering theCUBE, New York City, 2018. Brought to you by SiliconANGLE Media and its ecosystem partners. Okay, welcome back everyone here. Live in New York City for CUBE NYC, formerly Big Data NYC, now called CUBE NYC. The topic has moved beyond big data. It's about cloud, it's about data, it's also about potentially blockchain in the future, I'm John Furrier, Dave Vellante. We're happy to have a special guest here, the co-founder and chief project of Hortonworks. I've been in the ecosystem from the beginning, at Yahoo, we've been on theCUBE many times, but great to see you, thanks for coming on. Likewise, thanks for having me. Super smart to have you on here because a lot of people have been squinting through the noise of the marketplace. You guys have been now for a few years on this data plane idea. So you guys have launched Hadoop with Cloud Air, they were first, you came in from Yahoo, became second, two big players. Evolved it quickly, you guys saw early on that this was bigger than Hadoop. And now, all the conversations on what you guys have been talking about three years ago. Give us the update, what's the product update? Obviously, hybrid's a big part of that. What's the story? Great point. We started off being the Hadoop company. I was sort of, Rob, our CEO, who was here on CUBE a couple of hours ago. He called it sort of the phase one of the company, right, we were the Hadoop company. We quickly realized that we had to help enterprises manage the entire lifecycle data all the way from the edge to the data center, the cloud in between, right? So which is why we did the acquisition of Onyara, and we've been talking about it, which kind of became the basis of our Hortonworks data flow product. And then as we kind of went through that phase of that journey, it was quickly obvious to us that enterprises had to manage data and applications in a hybrid manner, right? Which is both on-prem and public load and increasingly edge, which is kind of really where we spent a lot of time these days with IoT and sort of everything from autonomous cars to video monitoring to all these aspects coming in. Which is why we wanted to get to the data plane architecture, allows you to get to consistent security governance model. There's a lot of kind of, you know, I'll call it, there's a lot of like further out there about cloud being insecure and so on. I don't think there's anything inherently insecure about the cloud. The issue that we see is lack of skills.  They just don't have the skill sets yet to be able to do it on the public load which leads to mistakes occasionally and data bridges and so on. So, we recognize it really early and part of data plane was to get that consistent security and governance models. So, you don't have to worry about, you know, how you set up IAM roles on Amazon versus LDAP on-prem versus something else in Google. It's operating consistent. It's operating, exactly. I'm gonna talk about this in a fast. So, you know, data plane was that journey and you know, and this week at Charlotte kind of what we announced was we wanted to take that step further. We've been able to kind of allow enterprise to manage this hybrid architecture on-prem, multiple public loads and the edge in a connected manner. The issue we kind of saw pretty early on and you know, it's something we've been working on for a long while is that we've been able to connect the architectures but Hadoop when it started it was more of an on-premise architecture, right? And I was there in 2005 and six when it started. Hadoop started was born in a world where we had a gigabit Ethernet, right? And that was up to the rack and from the rack on we had only eight gigs up to a rack. So if you have like a, you know, 2000 or cluster, you're dealing with eight gigs of connection out of this huge bottleneck. You know, fast forward today, you know, you have at least 10 if not 100 gigabits moving to 100, you know, a 10-bit architecture from a networking standpoint. And then what's happening is in that world everything you can, you can, you've had the opportunity to rethink some of the assumptions we had in Hadoop. And then, you know, the good news is that when the, when Cloud came along, you know, Cloud already had decoupled storage and storage and compute architectures. And as we've helped customers sort of navigate the two worlds with Data Plane it's been a journey that's been reasonably successful. I think we have an opportunity to kind of, you know, kind of provide identical consistent architectures both on-prem and cloud. So it's almost like we took Hadoop and adapted it to cloud. I think we can adapt the cloud architecture back on-prem to have consistent architectures. So talk about the cloud-native architectures. So you have a post that just got published. Cloud-native architecture for big data in the data center. No, the cloud-native architecture to big data in the data center. That's hybrid. Explain the hybrid model. How's that, how's that, how do you define that? Yeah, like I said, for us it's really important to be able to, you know, have consistent architectures, consistent security, consistent governance, consistent way to manage data, and consistent way to actually develop and port applications, right? So portability for data is important, which is why having security and governance consistently is a key. And then portability for the applications themselves are important, which is why we're so excited to kind of be, you know, kind of first to embrace the whole containerized the ecosystem initiative, right? And, you know, we've announced the open hybrid architecture initiative, which is about decoupling storage and compute, and then leveraging containers for all the big data apps for the entire ecosystem. And this is where, again, we're really excited to be working with both IBM and Red Hat, especially Red Hat given their sort of investments in Kubernetes and OpenShift. We see that much like you'll have S3 and EC2, S3 for storage, EC2 for compute, and same thing with ADLS and Azure compute, you'll actually have the next gen HDFS and Kubernetes. So is this a massive architectural rewrite, or is it more sort of management around? Great question. Part of it is evolution of the architecture. We have to get, you know, whether it's Spark or Kafka or HiAv or any of these open source projects, we need to do some evolution in the architecture to make them work in the ecosystem, in the containerized world, right? So we're containerizing every one of the 28 animals, 30 animals in the zoo, right? So that's a lot of work. We're kind of well suited to do it. We've done this in the past. And along with that, to your point, it's not enough just to have that architecture. You need to have a consistent fabric to be able to manage and operate it, which is really where Data Plane comes in again. That was really the point of Data Plane all the time, right? This is like a multi-year roadmap. When we sit down, we're thinking about what we'll do in 2022 and 23, but we really have to execute on a multi-year roadmap. And Data Plane was a linchpin. It was just like the sharp edge of the sword, right? I was a tip of the sphere. But really, the idea was always that we have to get Data Plane in to kind of get that hybrid product out there. And then we can sort of get to a, an iteration of Data Plane, which would work with the next iteration of the big data ecosystem itself. You see Kubernetes and things like Kubernetes. You got Istio, these service meshes up the stack. Absolutely. Are going to play a pretty instrumental role in orchestrating workloads and providing new stateless and stateful application with data. So now data becomes, you get more data being generated there. Exactly. So this is a new dynamic. It sounds like that's a fit for what you guys are doing. Which is something we've seen for a while now, right? Like containers are something we've tracked for a long time. Really excited to see kind of Docker and particularly now with Red Hat. All the work they're doing with Red Hat containers. Get to security and so on. It's sort of the maturing of that ecosystem. And now the ability to be able to port, you know, build and port applications. And the really cool part for me is, you know, as much, we'll see, we'll definitely see like Kubernetes and, you know, OpenShift and so on on-prem. But even if you look at the cloud, the really nice part is each of the cloud providers themselves provide a Kubernetes service. Whether it's GKE on Google or Fargate on Amazon or, you know, AKS on Microsoft. We'll be able to take identical architectures and leverage them. You know, when we containerize high work, Afgar Spark, we'll be able to do this on Kubernetes on-prem with OpenShift. And then the OpenShift online, which is available in the public cloud, but also GKE and Fargate and AKS. What's interesting about the Red Hat relationship is, and I think you guys really had smart to do this, is by partnering with Red Hat, you can, customers can run their workloads, analytical workloads. Exactly. In the same production environment as Red Hat is in. But with kind of differentiation, if you will. Exactly. With Data Plane. And it's just a wonderful thing there. So, again, good move there. Now, around the ecosystem, who else are you partnering with? What do you see out there? Who's in your world that's important? You know, again, you know, our friends at IBM, but we've had a long relationship with them. And, you know, we're doing a lot of work with IBM to integrate Data Plane and also ICPD, which is the IBM Cloud Private for Data, which brings along all of the IBM ecosystem, whether it's DB2 or IGC, Information Governance, Catalogs, all that kind of work, back in this world. And what we also believe this will give a flip to is the whole continued standardization on security and governance, right? So, you guys remember the ODPI, it cost a bit of a flutter a few years ago. Just a little bit. Yeah, exactly. You kind of know how that turned out. But what we did was, we've kind of said, ODPI, you know, was started, was based on the Hube distributions, right? Now, ODPI has turned to be more about metadata and governance. So, we're collaborating with IBM with on ODPI, more around metadata and governance, because, again, we see that as being very critical in the sort of multi-cloud on-prem edge kind of work. Well, the narrative was always, well, already needed, but it's clear that these three companies have succeeded dramatically.  We had Red Hat on, and you guys are sort of birds of a feather, so. Exactly. It certainly worked for you three, which presumably means it confers value to your customers. Which is really important, right? From a customer's standpoint, what is something we would really focus on is fact that the benefit of the bar game for the customers now they understand that they're key vendor partners, such as us and IBM and Red Hat, we have a shared roadmap. So now they can be much more sure about the fact they can go to containers and Kubernetes and, you know, and so on and so on, because all of the tools they depend on, and all the partners they depend on, are working together. So they can place bets. They can place bets, exactly. And the more important thing is they can place longer-term bets, not a quarter bet, right? You know, we hear about customers talking about building their next-gen data centers with Kubernetes in mind, right? They have to. They have to, right? And it's more than just building machines up, because what happens is with this world, we talk about things like networking. The way you're doing networking in this world with Kubernetes is different than you do before. So now they have to place longer-term bets, and they can do this now with the guarantee that the three of us will work together to deliver on the architecture. Well, we're great to have you on theCUBE. Great to see you. Final question for you. As you guys have a good long plan, which is very cool, short-term, customers are realizing, you know, okay, the setup phase is over. Now they're in usage mode. So the data's got to deliver value. So there's a real pressure for ROI.  But now, with the AI and machine learning in front and center, that's a signal that people want to start putting this to work. What have you seen customers gravitate to from the product side? Where are they going? Is it the streaming? Is it the Kafka? Is it the, what products are they gravitating to? Yeah, definitely. I mean, I look at these in terms, in my role, I look at these in terms of use cases, right? We're certainly seeing a kind of continued push towards the real-time analytics space, which is kind of why we place longer-term bed on HDF and Kafka and ifan and so on. But what's been really heartening kind of back to your sentiment is that we're seeing a lot of push right now on security and governance, right? So which is why we introduced the, for GDPR, we introduced a bunch of capabilities in data plane with DSS and James, you know, Kabilius wrote about this earlier in the year. We're seeing customers really pushing us for key aspects like GDPR, right? This is a reflection for me of the fact that of the maturing of the ecosystem. It means that it's no longer something on the side that you play with. It's something that's more, the whole ecosystem is now more of a system of record and sort of a system of augmentation. So that's really heartening. It also brings a sharper focus and more sort of response pretty on our shoulders to the place we're in. Well, congratulations. You guys have a stock price of 52-week high. Congratulations. Those things take care of themselves. Get good products. Stock price takes care of itself. Okay, theCUBE coverage here in New York City. I'm John Furrier, Dave Vellante. Stay with us for more live coverage. All things data happening here in New York City. We'll be right back after this short break.


Good evening all of you. On behalf of the Typography Society of India, the Organizing Committee and all the members of the society, I extend a warm welcome to all of you. Today we have finished more than six months of Typography Society of India. As we started with a small WhatsApp group, I'm very happy to inform all of you that today we have reached 1250 members in different platforms. And we have a lot of legendary designers and typographers and calligraphers as members of our society. And today is the 11th edition of the online lecture series organized by the Typography Society of India. And today we have a legendary calligrapher and designer, Sree Achutpalav. Our friendship goes back to 1992. And I was a student in IDC in IIT Bombay and my guru, also his guru, late professor R.K. Jyotshi introduced me to Sree Achutpalav. And he gave a wonderful demonstration and a slideshow of his work. And I still remember all the students were so impressed and really it opened up our eyes that calligraphy, we can do so many things with just one tool and one script. I still remember that Achutpalav, after the talk, gave us the slides and said, you can watch it again later. And I still remember we had three screenings over the last three weeks. And all the students of IDC had gathered in the visual communication classroom. And we saw it again and again, his entire work, there were around 60 slides. And I remember that we see the same work again and again, we enjoyed it more. And later I could become a friend of Achutpalav and now he's like a brother to me. And like thousands of others, he has inspired me to take up calligraphy as a passion. And lot of experiments I do, I thank many of my teachers including Swami Dukar and Saraswamy who taught me when I was a student in the school. Because R.K. Jyotshi and Achutpalav, Achutpalavji has played a very important role in giving me the inspiration to do calligraphy. When I joined IIT as a faculty, ever since every year he comes and teaches my students, he spends a couple of days with them. I'm very thankful for that.  Achutpalav is one of the most important names in Indian calligraphy today. With his unique approach, dedication and faith in the aesthetic appeal and potential of calligraphy as an art form, Achut has made significant contributions in reviving the glory of Indian calligraphy. His mission is to bring traditional and modern calligraphy to the masses. He believes that each letter is a design in itself and a letter or symbol as a potential of becoming a piece of art whether painted individually or as a composition. Born and brought up in Mumbai, Achutpalav completed his studies in applied art from Sir J.J. School of Applied Art in 1982. He specialized in lettering, typography and calligraphy. He has learned from and worked with eminent Indian calligrapher, late Professor R.K. Joshi, whom he considers his guru. He also had the opportunity to work with German calligrapher, Professor Bernard Schneider, who has been an admirer of his art. Achutpalav's love for Indian scripts has led him to conceptualize and execute many interesting ventures like calligraphy or old ways. And Kaili Fest, India's first festival of calligraphy. He is also the founder of Achutpalav's School of Calligraphy in Navi, Mumbai and established Kaili Hunt Award for Excellence in Calligraphy. Both are first of its kind in India. Achutpalav's calligraphy has been used in advertising, fashion, electronic media, interiors and architecture, events and many more. He has also made significant contributions in the area of design education. He conducts lectures and workshops on calligraphy and graphic design in design and art colleges across the globe, inspiring generations of youngsters to take up calligraphy with passion. He is also an urgent professor at the IDC School of Design and IIT boundary. Achutpalav has also experimented in fusion of calligraphy with music and dance. He has demonstrated that great masterpieces can be created when a calligrapher is inspired by tunes, rhythm, moves of a performing artist. He has worked with legendary musicians including Pandit Bhavani Shankar, Pandit Jasraj, Rahul Sharma, Sunita Rao, Rupa Kulkarni, Aarti Panachpe and Tanvi Palam. So, over to you and thank you once again Achutpalav for accepting our invitation and for sharing your story, your journey of calligraphy. Thank you very much. Over to you Achutpalav. Namaskar, me Achutpalav, calligrapher and designer. Today's subject is my calligraphy journey. I think in 30 minutes it is difficult to explain each and everything which is not possible but I will try my best. I was in school and every year I would write one thought on the blackboard. Nobody was ready to write on the blackboard. Teachers came to me, they asked me. I said, is it possible, can you write something? I said, it's okay. I don't know, my handwriting is good, my handwriting is bad. What I would write exactly. I was not good in study also. I was a back venture. But the confidence level of the teacher, he trust me. He said, yes, you can write from tomorrow. I said, it's okay. It's standard, 9th standard, 10th standard. Three years I was working the same thing. Subhicha, Sundaraksha Rahatskhara Gagina Hai in Marathi. It was a great experience for me. Day by day I increase my confidence, day by day I increase my knowledge, day by day I increase my beauty of the liter. And finally, I realized that what I'm doing is something different than other people. I know that I'm not good in study, but this is not an important part for me. I'm going to write before teacher came in the class and then say, wow, very nice. I think that was an encouragement for me. After this, then I went to a JG school of art.  In commercial, typography, LFE, photography, illustration, everything was there. So I feel that day, I don't know, this is a calligraphy. It is called calligraphy. So I started to write one paper. Before that I was working on the flag board. So you can reduce the shape, you can reduce the point size. And it was like one centimeter, one and a half centimeter, two centimeters. So slowly, I realized that how to make the adaptation, how to reduce the space. And Monday, Professor R.K. Zushi came to school. He was a visiting faculty, lecture was there. I realized that what he was telling, what the experience and the entire scenario of the career field. I realized that, yes, I'm on the track. I'm not great, but I have to work a lot of things. I have to be a very long-term old man. And that is a very important part. Until diploma, that time diploma was there, no degree was there. And my specialization in calligraphy and typography. I got to first class. I was first in my subject. And then Professor R.K. Zushi announced that he was a scholarship. To research on any Indian script or any typography subject. So, I collect some information from Aravitya Sushantam and Marathi Saitam. Bode livi, Professor was the shortest one here. I told him, what are you doing? I told him, I'm working on Bode livi. I told him, I might not. Feel that point. And then I started to collect the information from what is Bode. How to write, how to read that. And then I realized a lot of things. In one week, I submit the synopsis. And finally, I received the scholarship. Dr. Ashok K. R.K. Zushi, he was my mentor. He was my guide. Almost two years. And then I realized I know a lot of things. I collect a lot of literature. I collect a lot of history. I collect a lot of old manuscripts also. What can I do? So, luckily I got a job as a faculty, a luxurious couple. And then after five years, I loved the job because I wanted to do more. I wanted to create calligraphy as a profession, as a passion. Otherwise you can't do it. So, I started as a professional calliper. And I think I started to meet some lot of people. If you want to increase your knowledge, if you want to increase your calligraphy, if you want to increase your working style, work with different people. So, people that I start to work for calligraphy for book jacket, calligraphy for calendar, calligraphy for bags, calligraphy for wrapping. Because in front of me, Akira, she was a role model over there. She worked for the Chivanlal. And he did create a lot of things for the Chivanlal. I did the same thing. Very honestly, I'm telling you. Because what the teacher did was a little bit of follow-up. And after that, slowly, slowly, I increased to work with a lot of other people, like tech, work for the television people, work for the textile people, work with the architecture, work with the interior designers. And slowly, slowly, I realized that a lot of requirement is there. According to the subject, according to the space, you can change the dimension of the letter. You can't imagine, I was working at the meeting, he's an architect and he told me that, is it possible, can we do something in the building? I said, it's okay. So, that building was in Pune, in Chivanlal. And one letter was 9 feet. And it's a building, it's a media center. And it was not a painting. I worked with the Govindy, who works on the site. He went there with him. He went up to Chadna and with him, he took the carpet, he took the clay, show the relief, what he's doing. It was tremendous, an experience work. Sometimes I was doing the, when I went to JJ, before that I was staying in Lalbhag. Signboard painting, it was to watch that, the way he was handling the brush, pressure. 8 feet later, 1 feet, 2 feet, 3 feet, 4 feet, 5 feet. See, before you start to paint the letter, you imagine what is the space, how much space you have to do the letter. And you can start the judgment. And I think today what I'm doing, that my confidence, my confidence level is being because observation was very good. A lot of people was working nearby me.  Don't do anything. The circular, your vertical line, your horizontal line, it should be there. And slowly, slowly I developed that also. And then I realized, to spread the knowledge into people, I was doing one show about the Calligraphy and I got one special interview. It was a reality. The first question was, what is the difference between Calligraphy and Sonography? What is the difference between Thyroids and Calligraphy? People was thinking, Graphy is there. Some medical cover. I said no. And then I realized, if I have a knowledge, I have to distribute the knowledge to all the people. So in 2007, I planned a Califest, Caliwebi Roorowitz, travel to all over India. Kashmir to Kanyakumari. And it was a great experience. I was three and a half hours traveling with my students, with my colleagues. Sometimes I'm telling you, in South, people like to talk, but people don't like to write. You can say, I got it in Punjab. They don't have the beauty of the letters. And then I decided to start a Calligraphy Festival. There is a Califest. I started in J.J. Called the people from all over India. Show the people what is the beauty of the letters. And slowly, slowly, first Califest, second Califest, Mumbai, Pune, then again Mumbai, then again Lavi Mumbai. And then people like to participate. People like to work. In between, I started a school of Caliweb, a Chitvala school of Caliwebi. It's not a big deal. It's only one class I'm telling you. The people coming from all over India, sometimes people coming from abroad also, they like to stay 15 years nearby a hotel and they like to work with me. It's a very important part I'm telling you. Today's generation, I'm not blaming, but they're not really spending the time on the Caliwebi. They don't want to understand the Caliwebi. They are thinking that the computer is a good tool. I say it's a tool is right, but what about your judgment? That's why we start still only basic Caliwebi, learn the basic Caliwebi, try to understand what is true, how to hold the pen, what is the pain, what is the paper, what is the structure, what is the liquidity of learning. So many things are important. We are learning the Caliwebi, not only the Caliwebi.  Other factors are very important. And now, slowly, slowly, people are just thinking that, yes, this is very important part, Caliwebi. And then I started to commercial Caliwebi. Commercial, this is... See, it's absolutely. But what about Papi Bhel's question? To make the commercial. So, sell your work, transfer that Caliwebi on canvas. See, I remember I got first, for my first job, I got only two rupees. And one go for that. But I decided that, there is so much money on it, I have to see it. Probably, I'm telling you that I am taking a right now, I'm a commercially very established Caliwebi. Not only doing the certificates, but logo, sorry, jewelry, everything is there. And people are ready to buy all these things. I work for the Titan watches and the cost of the watch is 1.5 lakhs. So, this is... they're the commercial use of Caliwebi. And now, I'm established Caliwebi. But still, journey is there because I want to do a lot of things. One school is not enough. There is a knowledge all over the India. I feel that Caliwebi should be busy in India. Every state language, the script, the information of the script can be found here. We get it outside, we don't get it here. That's the sad things. Our country is full of farming. But I always say, that it's full of farming. You just cause the boundary with a different script, different color, different language. We have a lot of emotions in the script. You work with emotions. You can change the format of the Caliwebi. Today, I'm going to show you something. I was in Gujar. There was a film that all the writers were hamled by the people. They were being tortured by the office. They were not there to write. So, as soon as the concept came, after the concept came, Gujarji told me that you are going to express your expression through the Caliwebi. I think, for you to express that, to work with the Gujar, that is the first thing. And second part, you are working with emotions. You are going to change the Caliwebi. I think, I'd like to present you all these things. First, we'll see that film and we'll talk a little bit about that. If you're not there, then there will be more. It was a nice experience to work with Gujarji. Because words are very important. Words are very powerful. And now to one more film, that is a commercial caliwebi. It's like being a caliwebber, you should know all the languages. Because India is such a big country. There are so many scripts. You can come anywhere. You just don't want to come to Gujar. Or you just don't want to come to Bengali. Or you just don't want to come to Pallalam. There was an assignment that Omani had asked me to hide. Amitabh Bachchan, who is such a great actor, wanted to give something to you. So I said, Amitabh is an everlasting light. So I translated that into 50 languages. And made a shawl of it. Caliweb wise, made a pattern of it. I made all the words in the same line. All 50 languages. It was a different experience to work on that subject. You can see that. The experiment I did with myself, two careers on one paper. I did this same experiment with the volunteer. One paper, which I thought I did. After that, she cut it. Then I thought she cut it. While doing this, finally we did the compulsion. So this is one experiment with my son, Ruthu. He's also Caliweb. He's also designed it. He did some work two years ago. So, after starting the COVID, he sat in the bed and said, what should I do? So I said, let's think about your son. He did what he did. It was very important. After looking at it, I found out that I have to work a little bit more. Excuse me. I can do the experiment also. Without disturbing any Caliweb, I feel, basic. I work on that with the red color and the black color. Very small work, very important work. But what you're doing is very important. That's why you need a lot of judgment. You know, so I'm thinking. And the last is let's respect you. Last year, I did one exhibition in Jhangirat Gallery. It was a complete 40 years of journey of my Caliweb. I said, instead of doing one thought, because I did one Surya, I did one Akshara, I did a lot of sense in here. Let's compilation. Work together. And I gave a right from sign board. When I was a kid, I left school. I was leaving. While going to school, I didn't see any letters. I didn't see any work. I didn't see anything else. So that was in my mind. And after that, I did that same thing. I did a lot of sign boards. I did a lot of banners. Balls, I did 30, 40, 40 feet of balls. I did a 10 liter height letter. So, the first sign board that I did was Lauli Karti Centre in Lalbata. I did a lot of recalculations. How did I do that? I said, it was you. So, from there, until today, I did all the work. In that, all the papers, all the documentation, I did, I did all the work. So, that was, I think, it was a great experience. I published the letters for two books, a compilation of 40 years. The work was available online also. And I think you take a look and after that, we will see again, if any questions about my journey or my technique, we'll see that. I think this is the journey of entire 40 years. And I think this is the right time to discuss discuss on what you want to ask me for any question please ask me please thank you good evening Achyut thank you very much for that wonderful presentation thank you thank you very much and on behalf of all the members of typography society of India I want to thank you for accepting your invitation and for the wonderful great opportunity to thank all of you so I will start with the Q&A yeah so first is a question is from my side you had recently started a series of calligraphic experiments titled source of energy so it was very interesting and I think it was a rare moment when the hundreds of calligraphers used to get up early in the morning and wait for this image to come because personally I used to see this WhatsApp messages or something which is you know which comes in large number but source of energy is the first one it made me look forward to the morning so can you explain some of the your motivation being starting it and how was your experience about this series of calligraphic experiments titled source of energy basically idea was to give the inspiration to all career for the first thing second thing it's not your work I was working with a lot of musicians even online also I was working with what singers I was working with a writer I was working with some painters also so when you're working together we are discussing together you can create a lot of things so I think like one dot and create one circle it's like I like to be a dot yeah because one dot is one latest one design so small small cut I can create from all these things I think you can just with all these thoughts with the all the people because lot of people it's again I'm telling you people are all the career for they're doing the same thing again and again and again and again and again like in Marathi people are doing like J.M. Arashtra, Ghanpriyappa Moria, Vithala, you think that one later is one design one later is one wave one later is one picture that is very interesting what you did today morning because people ask me what is on conventional when I was working with a lot of musicians you have to work from your heart I accept all these things I work with a lot of different people I work with my students and then I collect a lot of things from all the people and just get back to the society and that is the big exercise that gives you a lot of pleasure and satisfaction even I'm telling you a lot of German people now they are asking me can you start I'm doing a Akshar yoga that is a yoga and Akshara that I'm doing in coming period so I'm discussing with all the yoga people and you were doing something with some musicians in Instagram where two singers were collaborating with you on in Instagram I saw can you just explain a little bit about that I was doing a Akshara end of the Akshara the organizer he was a good singer he was a good composer and participants want to see how you are working what is the text what music is there and on this part how we are using a different type of tools as well as how you are using the space also so without any losing your essence of that song music that's that's the important part when I was doing one workshop with a tool painting he was a well known director yeah so how attention is very important and we did here almost we spent three hours for that so the same thing was there I I worked with a four hours spending together with the music and calligraphy so this was really I'm telling you he if you want to create new settings you work with different people that's the important part and then I love that there is one a question from another from the audience how did the idea of jeb east met west come will there be another version of the same see again the same thing I like to work with you so instead of doing any people why not you call paul anthony he is a big big person he is tremendous unbelievable so when we discussed to get so he was ready to work with us an important part if you want more that see when you're working together that ego problem is not important exactly you have to use the judgment decision when the picture is going to complete you can't say yeah so next part is we are doing a just because of COVID otherwise we are planning to make session in weekend okay I was there for paul anthony's program I was there we had a formal meeting and all yeah yeah neurosenters yeah okay another is a standard question a lot of people must be asking you must be tired of this question what's your favorite tool paper and ink nothing because I was I'm using shaving brush I'm using toothbrush I'm using mop I'm using a floor cube for ganker I think that is not important for you once you get you have to decide that how you're going to use that's a very how did you get this idea of that injection needle it's a very interesting I think a lot of curiosity in the people what is Calabria what is Calabria what is Calabria so I got one invitation from doctors committee and they asked me can you show something different I just okay so I pick up one I start to work with the Calabria fee and with the injection only one thing that is important the pressure is important and make the colors and finally that needle that you have to take care so yeah that is one angle yeah one angle is there so in between dropper that so it's like a So you have to work for that. So Ming will experiment. So I got an idea from, I used to do sand board. So I used to do sand board. There I used to do track painting. So I was working for 3-4 years. It was a lot of curiosity. How did it come to be? I used to do track painting. I got the idea. I used to do paper cubers. I did the same roller with all the rollers. I used to go to Russia. I finished 5 feet by 50 feet. People were asking me, how are you working? More than machine. I didn't say machine. Implementation doesn't matter. But you have to take a call. It will be your own experience. It will be fun. Once in Buna, I did the whole wall. I did the wall of JJ. I used to live in Ladakh. I had a backhand. I think I did 8 feet to 9 feet. One liter. So I have also done the sand board. You have to change with the dimension. Big size. One day, I said, let's go to work. He took me to Mazgau. He brought me here. There was a boat in the water. I had to put my name on it. He told me, I don't know. He tied me from Russia. He left me in the water. There was seetapura in the water. It was dirty and dirty. I tied it in a foot. I knew that if I made a mistake, I would fall into the water. I was scared. It was a lot of experience. I learned it myself. It is very important to experiment. How is the idea of milk? It is the same. We were only in college. When we planted acid, we planted acid water. It was a pointy pointy pointy. It was the effect of tripling. I said, I will write this super-sample. I kept it in the angle. I have always 45 angles. I saw it in the hotel. It worked. It worked. It was a circle. It worked. Again, I am telling you, this is just because I am scared. I don't care what people will say. I start working on what I want. I go into my own style. That is just because of my work. I thanks to Ashok Parag. He is my Guru. When I worked with him, he was one of my mentors. He had a lot of capacity. When I published Aksharanabha book, and he was designed by Ashok, I realized that I was doing my own work. He had a lot of fun watching it. He worked with the different people. There was a lot of energy in the sound. There was a lot of energy in the music. There was a lot of energy in the dance. Some people like to talk with you. You can talk to them. You need to change something. People are always like this.  You will enjoy the process. Can you share some of your experiences with Professor Harke Joshi? Yeah, that's great actually. Harke Joshi, you have to work like this. No. You have to observe that his body language, the way he was watching your picture. I think that's a learning process. I did a lot of commercial work also with Harke Joshi. He was the first actor in IDC. I told him that his body thesis was complete. So now you have to do a presentation to all it for others. I said, Sir, difficult movie. I don't know that. You have to work. He was very much confident about me. You will create something magic. And at the same time, Varun Schneider saw me. Varun Schneider told me that you are brilliant, Achu. Come to Germany. It's good for tea. Luckily, you call me and give me a good space in Germany. I am telling you, I have almost like 3 million work. Because thanks to Varun Schneider. And when there was a thesis, he told me that I have to be the first person. If you don't work, it won't be good for you. So I took almost 2 years. Till then, he was not happy. Till then, I was working. And finally, Varun Schneider told me that I have to work. And this is an important project. So finally, he came to my exhibition. He spent a lot of time. Each and everything. He saw it with so much magic. And finally, he saw a line. That line is why I got everything. Exactly. But it was nothing. I have also written in the book. To work with Ajay Zushi, to observe with Ajay Zushi. To observe with Ajay Zushi. To listen to him. It was something different. I think the Indian government always thought that they should have written. They should have written. Very true. It did a great work. And I think, but unfortunately, we don't have art here. Can you translate that whatever Ajay Zushi sir wrote in that, that comment he wrote. Can you translate it into Hindi or English? If I get it, it's in English. Because one thing I have noticed is what you said is very true. He will not say, so work is bad or one is good. But I have noticed that when your work is on display, if he likes that, he will hold into your arm. Yes, yes. You know, I have noticed many times, if he is very happy about your work, he will hold into your arm and talk. And we have the families who are making, I want to sit now. So, what is Kursilakiriya?  I want to write something. I know Kursilakiriya. Beautifully, that's nice. It is like a primary for me. Exactly, exactly. Coming from somebody like Arke Joshi is very big. Absolutely. You know, during the lockdown, there was an unusual increase in the number of people practicing calligraphy who have started calligraphy and you are sharing work, especially if you look at Instagram today. From the day the lockdown started till today, the scene has suddenly changed and we all get to see a lot of people working on calligraphy and many of them are doing some excellent work. I feel that sometimes when you look back to this lockdown period, maybe it is a blessing in this game also. So, what do you feel about the sudden surge in this number of, you know, increase in the number of calligraphers all over the world has increased a lot. How do you see that? What do you feel about their work? Good positivity, I think. Luckily, people got the time to discover something. You can imagine when I announced one first session, that time 80 people were there and 40 people, NRI people were there. Yesterday I finished one workshop. There are German designers, Swedish designers, they are doing the calligraphy, Indian calligraphy. Again, I am doing the decorative calligraphy, four people are there. And I was discussing that. See, this is the right time to discover yourself also, not only the calligraphy. So, luckily, a lot of people are doing, a lot of people are sincere. Now, a little bit they are worried, we want to come one to one now. So, I did a workshop in USA, I did a workshop in Australia, I did a workshop all over the world. And they want to understand what is the calligraphy, one to one when I am going to chat. I think it is not only the practice is important. Reading is important, discussion is important. I want to understand what is your mindset, I want to understand what you want to say on the paper. Exactly. Discipline is good, consistency is there. So, everything is there. Luckily, I think coming week, coming year, might be you can see the different picture in India. Just because of COVID people are doing a lot of calligraphy workshop. I request all the people, those who are really working in Indian language, work on Indian language. That's the best thing. Because everybody is doing, a lot of people are doing proper calligraphy. But what is the next? I am always telling that I want to increase the knowledge, not knowledge, but the beauty of the Indian calligraphy. Exactly. I think because of you, because of your Jengarmana project, you forced me to learn Kannada and do Kannada calligraphy, which I never thought will learn. So, I had to learn a new script and do. So, it was a wonderful experience. That way, you have inspired a lot of calligraphers to learn new languages and take part. That is important. That is important. Otherwise, I am putting them now. That's why I am doing what you already know. Yeah. You can work in different languages. Exactly. We are like to ask a lot of things in Varan Bhattathi. Yeah.  Yeah. Great work. So, when will you start working in the market? Some people are interested in it. So, again, I am planning to come to Aksharyadhyam, a traditional workshop. When is it? Hopefully, in March or April. Three days or four days in the essential workshop, all these people. And work with the music, work with the literature, work with the... Will it be in online mode? No, no. It's offline. You see, now it's, I think, everybody's, you know. Okay, I'll read out one more question for you. When you write, do this, do those words speak to and ask you to stop, though you don't wish to stop while you are on paper and canvas. See, basically, I want to say one thing, important thing, that is, on the canvas. Before you work on the paper, once you get that word or any brief or any matter for you, read 10 to 15 times. Try to understand what is the meaning of that letter, but you try to understand what is the rhythm of that letter. Try to understand what is the requiring out of that space for that letter. If you decide that, then you can work out of the paper. That's a very basic thing, which people don't like to do that. They're doing it again and again and again and again and again, but he don't know what he's going to write. I think that is an important procedure I learned from the Archejushi. I think this, when I'm working with the musicians, when I'm working with the musicians, we did one project for the Pogo with Arti Dhanip. It was a stage like 20 feet by 20 feet and a height of 15 feet. So, finally, he told me that this is your space. I said, wow. And then we work out something, we paint that entire space and then when I came down, I painted the Archejushi and Dhanip's feet with socks. I put ink on the socks and they said, let's go with each stroke. Once your stroke is complete, if you stop there, I'll start next my composition. While doing this, that entire space we work in takes an hour. And that's a process. People today say, oh man, you got it within two minutes and you finished it. No, it's a 40 years process. So, it's very important to know and to talk about it. I think it's very important. And this is what I did with Dr. Ashok Preeter, Raja Dexson. There are a lot of things that we showed in the college. When I was in school, back benches, I was very dumb. So, let's sit back and do something. But the teacher was so smart. He came to me and asked me to write something in my mind. So, that was the beginning to give me confidence.  I learned from that my teacher. I was conducting workshop in London. One lady coming from Paris every week. She was sitting there all night. I asked her what her age is. I want to understand. So, she told me that she was 85.  I want to work for myself. And that was a big learning process. You work for yourself. See, don't work for others. Don't work for others. Actually, what happens is the same. It shouldn't happen. I'm very steadfast. I don't want to insult anyone. But I feel that if you want to increase the Indian calligraphy, then it is very important to work in every language. Documentation is very important. There are only four types of good books.  No, very sorry. There are so many people who want to come. So many people are working. We make a catalog of calligraphy. But nothing else can happen without catalogs. There should be an exhibition. Today, Manish Nair has an exhibition in Jangan. He is working on Gold Calligraphy. So, Rupali Thoma did an exhibition. He worked on six calligraphy languages. I am trying my best from a good color school. I am trying to make him happy. He will be back soon. She is doing really good work. She is doing really good work in Gujarat. So, a lot of people are working. Sudeep Gandhi is doing good work. Nilesh Afri is doing good work. Don't work for yourself, I think. Come in the program. Come in the gallery. People should know. People can see your work. They can recognize the work. Yes, this is the work. People should see that. It is not my dream. It is our country's dream. When we see the beauty, the whole project will come in a letter. It is OM. Exactly. So, two days ago, I worked on Valladam. I will show you that. Tomorrow, I am sending that. OM and Valladam Diary Mantra. Yes. So, that is all. I am doing Urdu. I am doing Ibedin also. I am doing German also. And now I am doing in the Devanagari. Why are you doing this? I want to understand what is the language? What is the design of that letters? It starts from the right. It starts from the left. So, it should be done. We are doing it. I did Vishwara Allah Tehronam. I did language together. I did OM and Allah together. Yes, I remember. I got a tour with another calligraphy system. From all over the world. It was a nice concept, two letters to OM and Allah. So, after that, when I did the whole series with Khairbaah Rasool, they said that I will mix Arabic and Devanagari. That was part of calligraphy first, no? Yes. During calligraphy first, you had done that? No, not during calligraphy. That was a special exhibition. You had collaborated with another calligrapher and did that. So, we will work together. Yes. After that, I was working with the Muhammad Bhai. He is a calligrapher. He taught me Urdu. I had come here to see the exhibition. After that, he told me, who wrote this? I said, did I make a mistake? There is no mistake. So, I said, you have to touch your feet. You have to touch your feet. Now, let's meet in the hall. So, see, this is an understanding. So, you have to learn from all these people. Very good. So, I have to say, you have to work with me. We will work together. That's the basic idea. I will conclude with one more last question. Our children are not given an introduction to calligraphy in India. The current education system doesn't give a basic introduction to calligraphy to our children. That is why, when you talk about calligraphy, the normal person doesn't understand what is calligraphy. Even the name calligraphy or Hindi, it is called Suleykan, is not a common man's word at all. So, if you introduce this to children in the early stages of a school life, a lot of change can happen. And we can find a lot of very good calligraphy designers coming in the next year. So, what can be done to introduce children at the early age to calligraphy? See, like I am telling you, they know the writing. Some people are doing good, some people are very bad, some people are like, the way to sit is different, the way to catch a point is different. Let's introduce that first. Hold the pen. How to sit? You have written your own name. So, after writing your own name, if I say, I will write your name, then you will say, Sir, you write very well. This is a calligraphy. I am ready. How do you write? Look at it. So, sometime they are doing in first attempt, very good writing. Then they understand. I said, I am telling you with a small stone, I was conducting on workshop. A parent came with me.  There are a lot of problems. There are a lot of complaints from the school. So, I said, what should I do for him? So, I said, what should I do for him? You do something. I said, I am not a doctor. Take medicine, take pills, sleep. It is not like that. No, do something. So, I said, let's send him from tomorrow. He was a boy. He was his age. You can't use a discipline. I am telling you. Sir, what do you want to do? I said, I want to write a paper. Yellow paper. What do you want to write? It is very good. But I got to know that he was very good at doodling. After doodling, I gave him the basic instead of teaching late, I taught him how to do it. I taught him how to do it. If you get an error, then how will he do it? Slowly, slowly his running he started sitting. After three months, he did one project. Okay? With the design. I said, do one thing. Who did you show it to? I told my parents. I said, don't show it to your parents. So, I showed it to my friends. When school started, I showed it to my friends. He went and said, let's go, I have a lot of things. Wow, wow, wow, wow. All the other kids. Teacher, what are you hiding there? Madam, she has made a lot of things. She said, I was complaining about the child that I was talking about the same child. Did you see the project? She took it to the principal. The principal said, look, my child has given a lot of ear. And he got a tremendous respect in the school. There were so many guests. They said, look at his name. Look at him. Now, he is a good designer. Very good, very good. There are so many cases. So, last week, I have requested that you kindly start drawing and calligraphy in school. Because that is the basic. Study is later on. After you study, you have to work on the paper to develop the children. You have to discuss that. You have to spend the information. One of my students did a drawing of his child. He took a whole circle. In that circle, he drew all the colors on the flat. He did all the colors on the flat. He is five years old. After that, I got an injection. I asked him, what do you miss? He said, what is the matter? Those are good things. But they can think very well. So, I think you don't have to do it from the beginning. I take it after 12 years in my school. Let them understand that. I have to do it. And I take a lot of projects. I have to study the children. I think introduction should be at home. Think about the percentage. Think about the importance of thinking about the percentage. Study and research are more important. They are using the confidence. Thank you very much for your enlightening participation. We are really enjoyed having you as a speaker. Thank you very much. Thank you very much. Thank you. We really want to express our gratitude for accepting your enlightening. Thank you. Thank you very much. Akshar Bharat. Akshar Bharat. Jai Hind. Jai Hind. Thank you.


After two days of construction, Paul Bunyan's Christmas tree in Bemidji is officially completed in Paul Bunyan Park. If Star was placed on top by Otter Tail Power Company this morning, there are over 20,000 lights on the 56 foot tree. Next workers will begin installing security fencing, a computer system and a sound system. Then the tree will officially be lit up right after the Night We Light parade. It's going to be the first of its kind for the city of Bemidji. We're excited to debut. Paul Bunyan's Christmas tree to the masses here after the Night We Light parade, November 23rd. Parade starts at 6pm and the ceremony follows immediately after the parade. So if you're kind of wondering on an exact time, anywhere between 6.45 and 7.15, all the lights, all 200,000 lights plus Paul Bunyan's Christmas tree will turn on together. And those details should take a little over a week to complete. If you enjoyed this segment of Lakeland News, please consider making a tax-deductible contribution to Lakeland PBS.