प्राची

Mother to Varenyam(7). Like following Indian traditions. Love Sanskrit. Founder @AvaranUdyog
Mfg. of cloth, cotton, canvas and jute bags
#womanentrepreneur

[Parimal @Fintech03]

Ancient India holds a completely mind-blowing, hardly-known conceptual connection to small sample statistics problem: estimating a massive population from a microscopic sample.

It is recorded in the Vana Parva of the Mahabharata, through a highly advanced mathematical concept known as Akṣa-Hṛdaya (The Heart of the Dice/Numbers).

In the epic, King Nala loses his entire kingdom in a rigged game of dice because he lacks the cognitive framework to understand probability & patterns. He goes into exile, loses his identity & ends up working as a humble charioteer named Bāhuka for King Rituparna of Ayodhya.

Rituparna was not just a king; he was a master of Akṣa-Hṛdaya, which ancient texts describe as a secret system that allowed a person to immediately compute vast numbers & understand the mathematics of gambling.

1 day, as Nala is driving Rituparna’s chariot through a dense forest, they pass a massive, sprawling Vibhitaka tree (the Terminalia bellerica, ironically the very tree whose nuts were dried & used as dice in ancient India).

Rituparna looks at the bursting, chaotic canopy of leaves & fruits & makes a casual boast to Nala:

"Look at this tree, Bāhuka. Not all of its leaves & fruits are visible to the eye. But I can tell you that on this tree, there are exactly 50 million leaves & 2095 fruits."

Nala is stunned & deeply skeptical. He stops the chariot & says, "O King, you are making a claim about things that are hidden from view. I am going to chop down this tree, count every single leaf & verify if your words are true."

Nala literally spends hours cutting the branches & counting. When the final tally matches Rituparna's calculation down to the last single digit, Nala falls at his feet & begs to learn the secret.

How did King Rituparna do this? Mainstream mythological retellings treat this as a magical mantra/a divine superpower. But in reality, Rituparna was executing the world's oldest recorded example of Estimation by Sampling.

Rituparna could not see 50 million leaves. He did not have time to count them. Instead, he took a tiny sample of a single branch, counted the density of leaves on that specific layout, calculated the total volumetric area of the tree's canopy & multiplied the sample weight against the whole.

The text notes that the moment Nala absorbs the mathematics of sampling & probability into his consciousness, the demon Kali (the personification of chaos, ignorance & bad luck) is literally vomited out of Nala’s body.

In ancient Indian thought, mastering the mathematical relationship b/w a tiny sample & the grand universe was the ultimate spiritual tool to destroy chaos & regain control over destiny. 🙏🙏

[Adivasiyat @TheAdivasiyat]

BIG Tribal dance from Jharkhand !

the song says :
"piyo 🦚 bird, please don't break the tree branch on which you are sitting 😤"
"that tree branch 🪾is made up of gold so don't break it"

[Rajiv Malhotra @RajivMessage]

I have argued against Nilekani, @TVMohandasPai and others for decades, on their quick buck mentality. Made millions by renting Indian brains for building US intellectual property. Their selfishness got rewarded by Indian elites and feel good masses. Now India is paying the price. China had different strategy to protect sovereignty.

[GBL @SolitaireGBL]

@om_unfiltered They really did😮‍💨

[Om Karkera 🇮🇳 @om_unfiltered]

My ancestors built some cool stuff 🇮🇳

[Hurricane 2.0 @DivyaGarjanam]

My ancestors built some cool stuff

[Krish @KrishnaPra60146]

India is beautiful but Elon's X algorithm doesn't push it.

[Parimal @Fintech03]

Every piece of India's public digital infrastructure must be legally barred from pinging foreign-hosted proprietary APIs. Government tech should mandate the deployment of local, open-source models hosted strictly inside local data centers.

Instead of giving subsidies to companies trying to train models from scratch, govt grants should fund companies that lower the cost of inference. If we make running smaller models dirt cheap, Indian small businesses will adopt local alternatives simply because it makes economic sense.

We have 1 massive geopolitical lever: our population's data. Enforcing strict data localization laws means foreign companies cannot use Indian data to make their proprietary frontier models smarter unless they place their compute infrastructure physically within Indian borders subject to local laws.

[Anoop Antony Joseph @AnoopKaippalli]

🇺🇸 US: Diesel
🇨🇦 Canada: Diesel
🇦🇺 Australia: Diesel

Major economies run double-stack freight trains, but they still rely on diesel because standard electric lines can't clear two-story trains.

But instead of settling, India custom-built a 7.5-meter high-rise grid. Today, India is the FIRST and ONLY country on Earth running double-stack containers on pure electric power. This is the scale of transformation happening under the Modi govt.

[Royal Singh 🦁 @Royalsinghz3]

This is India, but Elon's algo keeps pushing Anti-India Content

[Pattern Preacher @chanakyaspeakss]

𝗧𝗛𝗜𝗦 𝗜𝗦 𝗜𝗡𝗖𝗥𝗘𝗗𝗜𝗕𝗟𝗘 𝗜𝗡𝗗𝗜𝗔 🇮🇳
𝗧𝗛𝗜𝗦 𝗜𝗦 𝗕𝗘𝗔𝗨𝗧𝗜𝗙𝗨𝗟 𝗜𝗡𝗗𝗜𝗔

📍Kanyakumari ;
📸: backpacking.juvee

Grass is definitely Greener on this side.

Elon Musk algo will definitely hide this beauty 😪

North,West and East people, when are you planning to explore south India ? Drop comments

[Yadu @Yaduvam]

My ancestors created some cool stuff

[महावीर, ಮಹಾವೀರ, Mahavir @Mahaveer_VJ]

If there can be an Indian Police Service, Indian Administrative Service or Indian Foreign Service, why can there not be an Indian Heritage Service?

In this thought-provoking excerpt from her keynote address at the Republic Nationalist Collective Conclave, Padma Vibhushan Dr Sonal Mansingh advocates the creation of an Indian Heritage Service dedicated to the preservation, promotion and protection of Bharat's cultural legacy.

We require dedicated professionals educated in the disciplines of art, culture, history and heritage.

[Jaya_Upadhyaya @Jayalko1]

Divine abhishek darshan of Ashtamsa Varadha Anjaneyar from Coimbatore🚩

This 8-foot-tall Hanuman murti is made from Salagrama stone.

Devi Lakshmi graces devotees from Anjaneya’s right palm. 

The Tail faces North which is the direction of Kubera. It blesses devotees with prosperity and protects them from adverse planetary effects. 

The feet point towards South which is the direction of Yama. It is believed to relieve devotees of the fear of death and assure longevity.

[Bṛhat | बृहत् | Brhat @brhat_in]

Discover Āryabhaṭa’s brilliant Saṅkhyāvinyāsa!

This ancient system uses Saṃskṛta vowels and consonants to encode massive astronomical numbers directly into poetic verse, enabling concise calculations.
@quizkadambi

https://t.co/4XZmDmajo5

[Megh Updates 🚨™ @MeghUpdates]

🚨 BIG BREAKING

West Bengal CM Suvendu Adhikari announces he will personally oversee plans to make Durga Puja the GRANDEST ever 🔥

Coordination meeting with Central Ministers coming soon.

[Gabbar @GabbbarSingh]

India has its ‘Unknown Men’
But also its ‘Unseen Women’

Props to Kangana for bringing such stories to life. 26/11. Armed Pakistani terrorists, on a rampage, killing people indiscriminately. Yet a few good women stood tall. Watch Bharat Bhhagya Viddhaata to know how unarmed nurses saved 400 people from armed terrorists. Kangana in the lead, delivers a composed performance. No melodrama. Such stories need to be told

[Parimal @Fintech03]

The global cinematic pantheon immortalizes Satyajit Ray as the legendary auteur who won an Honorary Oscar, a Bharat Ratna, and the Legion of Honour for changing the grammar of filmmaking. But long before he ever picked up a movie camera, Ray was a starving commercial illustrator in British-occupied Calcutta, waging a quiet, highly obsessive typographic war against the mechanical rigidity of Western print blocks.

In 1943, long before directing Pather Panchali, 22-year-old Satyajit Ray took a job as a "junior visualizer" at D.J. Keymer, a prominent British advertising agency in Calcutta. Concurrently, he became the chief book jacket designer for the pioneering Signet Press.

Ray was tasked with designing covers for modern Bengali literature & poetry. But he immediately hit a maddening, structural wall: the physical lead types inside the printing presses. The printing houses of Calcutta relied entirely on heavy, standardized metal fonts imported from British type foundries like Monotype & Linotype. These fonts were cold, rigid & geometrically clinical, designed strictly for European corporate newspapers & English colonial trade documents.

When Ray tried to use these metallic types to frame the cover of an emotional, lyrical Bengali collection of modern poems, the layout looked visually jarring, lifeless & completely un-Indian.

Instead of surrendering to the rigid British typesetting catalogs, Ray decided to bypass the printing foundries entirely. He cleared his small wooden desk, sat under a single incandescent bulb & began hand-drawing every single title using traditional Indian ink & fine-tipped calligraphic brushes.

For Abanindranath Tagore’s folktale Khirer Putul, he hand-moulded the letters to resemble the fluid, sweeping patterns of Alpana (traditional Bengali folk floor art). When he designed posters for his films, he manipulated letters into architectural shapes & silhouettes, even bending Bengali characters into a Tibetan-style script for his hill-station masterpiece Kanchenjungha.

But Ray’s ultimate typographic masterstroke occurred in the 1960s. He realized that while he was successfully hand-lettering titles for his own movies & books, the broader, global graphic design landscape lacked a Roman script that possessed the warm, organic, calligraphic fluidity of the East.

Operating with staggering geometric precision, Ray sat down to design an entirely new, replicable English alphabet for the international market. He manually drew every capital letter, lowercase character, punctuation mark & numeral with calculated vector metrics.

He engineered 4 distinct, globally registered Roman typefaces:

- Ray Roman (A stunning, humanist serif font featuring elegant, delicate anatomical brush strokes).
- Ray Bizarre (A fierce, highly artistic, partly architectural display typeface).
- Daphnis (A brilliant hybrid where the upper portions of the characters are strictly structural, while the lower segments flow calligraphically).
- Holiday Script (A playful, rhythmic, accidental cursive font).

According to Andrew Robinson’s biography The Inner Eye, Ray Roman & Ray Bizarre were considered worthy of awards by the Western entity involved.

Yet, because his cinematic triumphs completely eclipsed his graphic design achievements in global media, this stunning chapter of his life faded into the dark. Today, while film students dissect his camera angles, the fact that he was a globally patented master of the English alphabet remains a phantom archive.

Modern digital designers continue to scroll through 1000s of pre-installed, computer-generated fonts on high-end software programs at the click of a trackpad, completely oblivious to the physical mechanics of the letters they use. Yet, beneath the history of modern graphic arts lies the ink-stained desk of a Bengali visualizer who refused to let an empire standardize his expression, proving that while a foreign culture can try to lock our words into rigid metal cages, it takes the brilliant, unyielding stroke of a native artist’s brush to give wings to the letters that define the world.

[Wyatt Reed @wyattreed13]

Fixed this for you @CNN

[Anshul Saxena @AskAnshul]

They are calling Ayush Malik an icon and hero because he left his family and converted his religion.

Our fearless hero and icon is KK Muhammad, who served as a Regional Director of ASI. His own community boycotted him and threatened him, yet he stood firm in stating that Temple ruins existed beneath the Babri Masjid.

We are not the same.