Rourkela – The Illustrated Journey Into The Life Of The City Around India’s First Public Sector Steel Plant

A new type of history book about a city ..600+ illustrations, 270 pages , about India’s first public sector steel plant and a city around it… legends, facts, figures..about tribals, their life, about the British Raj and post modern Indian scenario..about how the steel industry came up in the remote area and how the city got into Narendra Modi’s smart city list..

A new type of history book about a city ..600+ illustrations, 270 pages , about India's first public sector steel plant and a city around it... legends, facts, figures..about tribals, their life, about the British Raj and post modern Indian scenario..about how the steel industry came up in the remote area and how the city got into Narendra Modi's smart city list..

 

Completely illustrated narrative about Rourkela, a city that become one of the iconic industrialization urban symbol in post independent India. A remote village of the ‘Roulia’ tribe, surrounded by dense forests and hills amidst India’s one of the mineral rich valleys, got selected by the makers of modern India to host India’s first public holding Steel and Iron company Hindustan Steel Limited. This story is the the journey of becoming one of the founding stones of modern industrialization of India. “History of a less travelled yet one of the cult cities of modern Indian town retold disguised as a compelling and gripping story through pictures” Explore the fine details about the place, it’s aboriginal, the migrant population, the culture and the impact of urbanization in social life. An unique experimental book of it’s own kind.

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Rourkela: The Illustrated Journey Into The Life Of A City

rourkela

 

The “Rourkela:  The illustrated journey into the life of a city ” book project is an unique attempt to stitch to weave a canvas of experience about a place through illustrative medium — it’s more about travelling through time and space to witness the growth of a city and it’s culture.

India’s  first ever integrated steel plant under public sector ‘Rourkela Steel Plant’ facility was established in Rourkela 1954-55. Post independence the then leaders wanted to set up a steel plant to make India self-dependent in iron and steel.Pundit Jawaharlal Nehru, the first Prime Minister of India wanted to make India an industrialised state. Iron and Steel was the basic requirements of the people at the dawn of the independence. Finally the leaders of the nation selected Rourkela for a steel plant.

So what is the story behind this? How was the city selected? What was the history of that place before? The book tries to explore this fascinating story in with the vivid illustrations. It

aims to include those little little things that makes help understand the place better – including the flocklore of the place to actual historical linkage to some part of the place that typically go unnoticed due to the fact that the place is less written about in different books and magazines.

– See more at:

https://www.facebook.com/IllustratedTypeDotCom

http://illustratedtype.com/#sthash.lUakfo5U.dpuf

 

Rourkela

Usability Design and User-Centered Design (UCD)

The Usability Design is roughly a subset of the UCSD process that matches the “Do Iterative UCSD” step of the UCSD process.

usability_design

The usability design outlines the steps in the development process involving usability design aspects. The process can be divided into three main phases:

  1. Requirements analysis: This step is synonymous with planning and analysis phase of typical software development life cycle(SDLC).
  2. Growing software with iterative design: This is the design and testing phase and development phase of typical SDLC.
  3. Deployment: This is same as deployment phase of typical SDLC.

 

User-centered design (UCD) is a set of design processes in which “the needs, wants, and limitations of end users of a product are given extensive attention at each stage”. It is characterized as a multi-stage problem solving process involving designers who take the lead responsibility in foreseeing and solving the usability problems the users are likely to face while interacting with or using the system/product. UCD focuses on understanding the behavioral aspect of the user interacting for the first time so that the user’s learning curve in using the system can be evaluated in order to optimize and reduce it. User-centered design philosophy emphasizes on optimizing the product around “how users can, want, or need to use the product, rather than forcing the users to change their behavior to accommodate the product”.

Constantine and Lockwood define UCD as :

‘. . . loose collection of human-factors techniques united under a philosophy of understanding users and involving them in design’. . . ‘Although helpful, none of these techniques can replace good design. User studies can easily confuse what users want with what they truly need. Rapid iterative prototyping can often be a sloppy substitute for thoughtful and systematic design. Most importantly, usability testing is a relatively inefficient way to find problems you can avoid through proper design’. (‘. . . loose collection of human-factors techniques united under a philosophy of understanding users and involving them in design’. . . ‘Although helpful, none of these techniques can replace good design. User studies can easily confuse what users want with what they truly need. Rapid iterative prototyping can often be a sloppy substitute for thoughtful and systematic design. Most importantly, usability testing is a relatively inefficient way to find problems you can avoid through proper design’.

Putting it straightforward UCD is all about 4 factors which are mostly related to the end user :

  1. Needs of users
  2. Limitations of  users
  3. Preferences of users
  4. Business objectives of the product.

This helps in achieving the following benefits:

  1. User satisfaction through more user friendly product experience
  2. Increase in customer /user loyalty.
  3.  Making the product more relevant and valuable for the user
  4. Product / system is more value added as users

 

 

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(c)2012-13 : Samir Dash. All rights reserved.

 

 

Jayanta Mahapatra’s “Relationship” is available for iPhone/iPad/Android and as Standard eBook Formats

 

 

 

Relationship by Jayanta Mahapatra.

published by patternGraphic.com

from Smashwords.com

Original Price: $2.00   

Promotional price: $1.40


Coupon Code: BG98H


Expires: December 31, 2014

Available eBook Formats :

Kindle (.mobi for Kindle devices and Kindle apps) Download
Epub (Apple iPad/iBooks, Nook, Sony Reader, Kobo, and most e-reading apps including Stanza, Aldiko, Adobe Digital Editions, others) Download
PDF (good for reading on PC, or for home printing) Download
LRF (Use only for older model Sony Readers that don’t support .epub) Download
Palm Doc (PDB)

Jayanta Mahapatra needs no introduction. Any discussion on Indian English Poetry is incomplete without reference to his poetical works. Mahapatra holds the distinction of being the first Indian English poet to have received the Sahitya Akademi Award for the current book “Relationship”. “his international reputation has been compared to that of Wordsworth…”

The Hindu, Sunday, Jan 29, 2006

‘History’ in Criticism – the ‘Other’ Side of the Story (Part – 1)

Image

[Fig: Michel Foucault]

Focault and his contemporary post structuralists might make it a part of his consciousness that ontological studies of literature leads towards a future of studies without a point of convergence, as knowledge necessarily entails power relationship – that the moment one attempts to define in strict tones some aspect of ‘text’, it becomes something else. Exploiting this power relationship of knowledge with the interpreter’s environment (which is essentially socio-political). Said in Orientalism, adopted a different methodological standpoint – the method of “historical generalization”. And after publication of Orientalism the subaltern poststructural critics like Spivak termed it as the “source book” for the related disciplines  to which she belongs. The reason to present this fact is that, I want to direct our attention to one distinguish point of today’s criticism – that the so called anti-historic criticism (like post-structuralism) lead the way to point a fault i.e. “ontological interpretation” is never free from bias and thus it gives way to ‘historical generalization’ or (more specifically) to ‘use of history in critical interpretation of texts’, to which it is totally against. That means, in plain words, through the structuralists and post structuralists, deconstructionist distorted history, by assigning it the title of a ‘system’ with changing ‘center’ (For instance, Derrida thought his articulation of his deconstructionist ideas as an event, and this he showed as a process of change of “center” – by replacing “metaphysics” with the “deconstruction”, at the center of our belief system), they later paved the way (through Focault’s theory) for a new mode of interpretation where history plays an important role – in post colonial, subaltern and Oriental studies (more specifically in the words of Said and Bhaba).

Thus the most interesting point that comes to our notice is the relationship between two modes of idealism – one that supports the use of history and the other that is totally against the use of history in the study of literature are infact are the two sides of the same coin. This point as we observed in case of modern critical theories, tempts us to examine its validity in every phase of critical history itself, and in the following I am attempting to give this temptation , a mode of reality.

(Continued…)

[From my essay with the same title written in December 2003]

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© Samir K. Dash, 2003

Two oldmen

 

 
Two oldmen

Two oldmen met each other
One entered from a door
The other leaving

Both smiled at each other
Talked insane to the other
One has learned this world
The other yet to
One thing common
Both innocent at the moment
Rest too complex to explain
Like life itself!

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“Two oldmen” (c) Samir K. Dash: 2011,

All Rights Reserved. No part of the above poem(s) can be published any where in any form (electronic or non-electronic ), with out the written permission of author. However you can direct yours links to this page in your websites.

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Formalism, Simplified

 

Filippo TommasoMarinetti

The Background:

19th century Russian criticism was largely didactic. It was , primarily a weapon of liberal and later revolutionary opposition to the tsarist regime.

 

Towards 1890 (i.e. the end of 19th century), there came the symbolism with Dimitri Merezhkovsky and Valerii Briusov. So, for the first time criticism became partly aesthetic , which took into its consideration the “suggestion” of words, the personal mood of poetic themes. Some , like Vladimir solovev saw in symbolism an opportunity for Russian religious thought, as symbolism provided the magic of revelation of higher values.

But then many saw symboliusm as a revival of Romanticism (as it opposed to Realism and Naturalism).

 

During such a period, there raised a group whose statements were based upon classicism under the name of “Clarism” and “Acmeism”. They were also more like Paranassians, who stress on clarity and emphasize upon objectivity and concreteness. In addition, during this period Marxism came to front, being formulated in the writings of Plekhanov and Lenin. And this Marxism was a kind of revival of didacticism and return to the taste of 19th century realism.

 

Thus, the battle lines were drawn in 1910, as aestheticism, symbolism, Marxism confronted one another sharply. By this period the whole Europe (non-British), had been undergoing drastic change in literary theories, with a blurring distinctions among them, under the name of “Futurism” (Italian evolution) and Modernism is somewhat old term dating back to the middle ages in England. But in about a 1887, the form Die Moderne became a slogan of writers, whom we would classify as naturalists. But then this term modernism used widely, for instance , in Richard Ellmann and Charles Feidelson’s The Modern Tradition (1965) and in Irving Howe’s Literary Modernism(1967).

 

As far as “Futurism” is concerned, it developed in italy towards the beginning of 20th century. In 1909 the major manifesto of futurism was published by Filippo Marinetti in Le Figaro (1909), which advocated the complete breakup with the tradition and aimed at new forms, new subjects and new styles in keeping with the advent of the machine age. They advocated the dynamism, the machine and speed, the patriotism and splendour of war. This towards 1920, became more aggressive and Fasistic as it created movements like Dadaism and expressionism.

 

In Russia this futurism along with “Cubism”, “Dadaism”, “Surrealism” and other Avant-Grade groups(Avant-Grade is a term coined BY Gabriel –Desire Laverdant in 1845 ) put their effect on the groups who were opposed to symbolism and aesthetic values in literature.

 

Following 1909’s manifesto of Italian futurism (by Fillippo Marrinetti), in 1912 the notorious manifesto ‘A Slap in the Face of Public Taste’ (signed by david Burlink, Alexei Kruchenykh and Velimir Khlebnikov) was published stating to “throw Pushkin, Dostoevsky, Tolstoy and all others overboard from the steamship of modernity”.

 

In 1926, roman Jackobson established the Prague school, which was influenced by this spirit (as well as by the Italian futurism). And this school believed in the rejection of organic, biological, “beautiful” form in favour of abstract, geometrical , stylized art and the machine. Other schools and linguistic groups like OPOIAZ (Scociety for the study of poetic language established in 1919) supported this, under the label of ‘Formalism.’.

 

The Russian formalists were primarily interested in the way that literary texts achieve their effects and in establishing scientific basis for the study of literature.

 

 

 

 

 

 

Theory

The formalist theory can be grouped under the following main categories:

 

  1. The evolution of form:

The formalists collapse the distinctions between the form and content. They consider ‘form’ to be the result of two operations: (i) Deformation (ii) Organization.

 

Deformation means the change achieved by poetic language in contrast to the language of prose, patterning by the sound repeatations  and figures. But all the ‘devices’, must be used (e.g. like ‘plot’ in a novel is a device) in a systematic manner, or in other words organized.

 

Thus Russian formalists first studied the sound patterns, meters and compositional forms.

 

 

 

  1. attack on poetry as “thinking images”:

visualization or the images in the context of poetry was according to the formalistic view useless. According to the formalists the visualization of any “metaphor” is not necessary. Rather the poem achieves its effects by the use of sound patterns, grammatical parallels and contrasts.

 

 

  1. theory parallel to New criticism of America:

Formalists redefined the social function of art: “the purpose of art is to make us see things, not to know them. Art is there to awaken us from our usual torpor” . this reminds us about the theory of John Crowe Ransom’s insistence on the contrast of science and art, art being assigned the function of returning’the world’s body’ to us.

 

 

 

  1. art is a puzzle:

formalists view art as a jigsaw puzzle. Frame stories such as The Arabian nights with their constant delays and disappointments adventures and mystery stories, detective novels with their riddles and surprises serve as example. This shows that formalists were more concerned with the form than the aesthetic human values.

 

 

 

  1. the process of “automization” :

 

 

Formalists rejected the usual literary history as a ragbag of uncoordinated facts. As Norman Jakobson says:

 

 

The old literary historians remind us of policemen who in order to arrest a certain individual , arrest everybody and carry off everything from his lodgings and arrest also anyone who passed by on the street. The historians of literature use everything – the social setting, psychology, politics, philosophy. Instead of literary scholarship, they give us a conglomeration of homogeneous disciplines.

 

(Reprinted in Selected Writings 1979)

 

 

 

 

and formalists solve this problem by the process of “automization” – focousing on poetic diction and its evolution by wearing of f the novelty. Thus formalists put the study of the actual work of literature into the centre of scholarship.

 

 

 

Present status:

 

 

Many believe that formalism is analogus to the NewCriticism movement of America. But this is not true. Though many points match or resemble in both movements, the essential difference lies in the differences in ethos and emphasis. While formalists were aiming in being revolutionary, the other one lays stress on the tradition. Formalists were associated with more on science than in the interpretation.

 

The movement of Formalism died in 1930’s just 10 years after its birth , but it influenced the coming movements like Structuralism of Ferdinand de Sassure.

 

 

 

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The above post is taken from the book “A Beginner’s Guide to Modern Critical Theory ” by Samir K. Dash , First Ed (c) 2005.
All Rights Reserved. No part of the above poem(s) can be published any where in any form (electronic or non-electronic ), with out the written permission of author. However you can direct yours links to this page in your websites.
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