This article is a compilation of my thoughts, mostly disagreement and criticism (or rather a myriad of questions I have) of Inventa – the endeavor started by a group of students from various elite science institutes (IISERs, NISER, CEBS & IISc) to communicate science.
On their website, they say, “As students of science, we believe it to be of utmost importance to be able to communicate the fruit of our [scientific] work, to the masses” (emphasis mine). As agreed by many fellow researchers, it is our responsibility to communicate our science to a broader audience. But, my question is, who are the masses?
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– Ronak Gupta
I vividly remember watching Nagraj Manjule’s searing debut film Fandry for the first time, a few years ago. I had never quite seen anything like it until then. Fandry uses tropes of love stories from mainstream cinema and yet does something these movies consciously avoid – it indicts the caste system. Manjule said in an interview,
“Caste is the foundation of our society. It’s a reality that you need to have a special talent to avoid. Bollywood has that talent, I don’t…”
Indeed, Hindi films largely gloss over the subject of caste and blunt most conflicts down to a class disparity, as illustrated particularly starkly in the Bollywood remake of Manjule’s sophomore feature Sairat. Manjule’s Fandry introduced me to a radical artistic voice, the kind that was conspicuously absent from the media I had consumed until then. It made a deep impression on me. It implored me to seek out a different kind of cinema and expand the scope of art I engage with. It is on this path that I discovered Yogesh Maitreya’s excellent collection of short stories Flowers on the Grave of Caste.
Yogesh Maitreya is a writer, poet, and translator who also runs Panther’s Paw, a publishing house with a strong focus on promoting anti-caste literature. His collection contains six stories across which he widely experiments with literary style and scope. The result is an eclectic collection of short-fiction that is written in simple but often poetic prose. Yogesh’s sentences invoke powerful imagery and nowhere is this more apparent than the contrasting images that begin and end the first story “Re-evolution,” a fable of revenge, in which Yogesh weaves a personal journey coming to full circle.
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I read the recent testimonial “The Mine Field” published by NOTA. It was an honest account of how most of the summer internships look like. It brought back memories of my own summer internships, the period where I struggled to understand what I did wrong, the frustration of not getting into a good institute, a great program, a reputed lab.
Before I elaborate my frustration and anger on the system, let me explain how summer internships work in elite institutes, like the one I studied in. Unlike the author writes in the earlier article, it was not an unwritten rule in my college. We had to do a summer internship to avail our scholarship for those three months.
We were also told that summer internships help us improve our research skills and know how research is done, and we believed summer internships are just that. However, what is kept hidden is that it is a resume-building endeavor – the better places we go to, the sooner we start, the higher are our chances of excelling in academia. But, how to get into those great places is left for us to figure out. And this is where I didn’t understand what the hell was going on.
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