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admissionassistance-blog · 6 years ago

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An Insight into Process of Dayananda Sagar College of Engineering Admission 2019

About Dayananda Sagar College of Engineering

Dayananda Sagar College of Engineering or DSCE is part of Dayananda Sagar Institutions and is dedicated to imparting quality Engineering education to students from India and international students. The engineering college has approval from AICTE, the All India Council for Technical Education and is affiliated to Visvesvaraya Technological Education, Belgaum. Located on a sprawling campus of 29 acres, DSCE offers a wide choice of educational programs at undergraduate, postgraduate and research levels. The engaging campus life, dedicated faculty, excellent infrastructure, and residential facilities have resulted in Dayananda Sagar College of Engineering is one of the most popular Engineering colleges for students from around the country and abroad.

Programs offered at Dayananda Sagar College of Engineering

The College offers undergraduate B.E. programs in 15 disciplines, postgraduate M.Tech programs in 12 fields of study and research programs with 20 departments offering PhD degrees.

Dayananda Sagar College of Engineering admission

The 2019 Admission process at Dayananda Sagar College of Engineering is expected to commence in March 2019. The admission process generally concludes by the end of July every year.

Dayananda Sagar University admission for Engineering is based on the common admission tests, CET and COMEDK. CET refers to the Common Entrance Test organized by the Government of Karnataka and COMEDK denotes the selection test arranged by the Consortium of Medical, Engineering and Dental Colleges of Karnataka.

Admission Criteria for Undergraduate Programs

Admission into B.E. programs at Dayananda Sagar College of Engineering requires the candidates to have passed in 10+2 / PUC or equivalent examination with an aggregate of 45% in Mathematics and Physics with any one of the subjects Electronics / Biotechnology / Biology / Chemistry / Computer Science and English as a mandatory subject. Qualification through CET or COMEDK is compulsory.

Admission Criteria for Postgraduate Programs

Admission criteria for postgraduate, M.Tech programs include a B.Tech/B.E. or equivalent degree with a minimum of 50% aggregate marks (45% for SC/ST and OBC category) and clearing the admission test conducted by the University with a good score. The University gives first preference to candidates with a valid GATE score and then to rank holders from the University.

Admission Criteria for Research Programs

Dayananda Sagar College of Engineering offers PhD and M.Sc (Engg) on successful completion of research programs. The eligibility for an application depends on the selection of synopsis, an interview with VTU and ULRAT test score. Eligible applicants will have to produce a Master's degree or equivalent from any recognized university. Both M.Sc(Engg) and PhD programs require the candidates to appear for a written selection test. Those who clear the test will be asked to appear for a personal interview. The admission confirmation will depend on the interview performance.

Direct admission in Dayananda Sagar College of Engineering 2019

Direct admission in Dayananda Sagar College is an option available for students not qualifying through admission criteria under the general or merit Quota. To be eligible for Dayananda Sagar College of Engineering direct admission under the Management Quota, applicants must have scored a minimum of 50% aggregate individually in the compulsory subjects of Chemistry, Mathematics, and Physics.

If you want Admission in Dayananda Sagar College of EngineeringContact @ 8884555829/8088354321

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ruthgrigorov-blog · 7 years ago

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SPRING / BREAK Interview - The Untitled Space

SPRING / BREAK Art Fair Interview Project

Exhibition Title: (HOTEL) XX

By Indira Cesarine of The Untitled Space

3/12/18

I chose to interview Indira Cesarine of The Untitled Space because I'd spoken with my friend who agreed to work with her on a photo / interview project she was doing about sex workers. My friend Jackie, who publically goes by the name Maidenfed, is a dominatrix, model, writer and collage artist. She told me that she had a difficult time communicating with Ms Cesarine and that they had clashed opinions when it came time to discuss exhibiting their spread in the SPRING / BREAK show. From what Jackie told me, the photoshoot she did with Indira was intended to be a separate project and not to be included in the art fair exhibit. Indira went ahead and exhibited the photos in her exhibit anyways, despite Jackie's objection. I found this problematic coming from the curator of a supposed feminist gallery, so I went into the interview hoping to get a little more information about the situation from Indira.

RG: What is the importance of showing in an art fair in your opinion? What impact do you think you participation has on the art market?

IC: I think it depends on which fair, you know every fair has a different sort of dialogue and you know um relationship to the public and culture at large, large fairs like the armory even fairs like scope have a more commercial initiative, it's more about sales, gallery impact on the art market, institutional collection pieces etc, then you have smaller faires like spring break which are about creativity innovation, you know pushing the needle of what's happening today in the art world with regard to artista dnc ulrators to be as creative as possible.

RG: Do you show in multiple fairs?

IC: No, um I mean i have a gallery in tribeca um but i personally don't do a lot of art fairs, because I have a feminist curatorial and i find that our message is um highly invited with a narrative.

RG: And what would you say your message or mission is?

IC: Overall our voice is to collectively empower, that being either empowering women, empowering people, embodying notions of freedom, empowering those who have been marginalized or oppressed in any way, so we obviously do a lot of feminist themed exhibits and do a lot of politically themed exhibits like for for example on the resistance movement.

RG: Are all of your artists female identifying?

IC: No, its a mix. This particular show is 24 female identifying artists but in the shows in the gallery we mix it up. I tend to have, I would say the deminationg thing is since we do a lot of feminist themed exhibits the primary group of artists is women that we work with but at the end of the day you know we absolutely are supportive of including men in you know the feminist mission, I think its really important that men are included in that.

RG: How do you go about selecting the artists that you exhibit in the gallery?

IC: I mean a lot of it is um instinctive in a sense that when I review the work is has to fit thematically, the artist has to have a distinct voice that fits and aligns with our mission, um i think its really important also the artists statement um then once i've worked with an artist a few times then I know their work and its easier to curate their work into the show when I know its a good fit. For example this show, I'd say about 75% of the artists are artists that we've worked with before.

RG: Do you exhibit artists of color?

IC: Oh a lot. Oh of course, yeah. We have quite a lot in this show. [Mentions a few artist names that are in this show] I'm actually Mexican American so i mean a lot of artists from varied backgrounds, queer, lesbian, different ethnic groups, I just think its really important to reflect diversity.

RG: Absolutely. What is the primary demographic you notice that purchases works from the gallery?

IC: Its a huge range. I mean sometimes its young up and coming collectors that just love you know an artists voice and sometimes its a massive range i can't really say that we have one particular stereotype that purchases works.

RG: Do women purchase works?

IC: um, i would say its about 50/50. More than it used to be. When we first opened the gallery more collectors that were coming were male collectors but with all these movements like the women's march and all these movements empower women people realize its really important to support the feminist message and a lot of women that were perhaps not that were like that can afford to buy art were not necessarily buying it until they realized how important it is to be a part of that whole dialogue you know.

RG: Who do you think has the most access to the work in your gallery?

IC: Well anybody can come in to the gallery, recently we've had groups of students come in. Recently we had an autistic group of like 10 autistic kids that we did a tour with, so its really for everybody and we want to make it accessible to everybody of any age, background, financial thing which is why we dont charge to go to the gallery. I mean with art fairs like this you have to buy tickets which can limit who can come.

RG: How do you think the election of donald trump has affected the art world or more specifically your niche in the market?

IC: I think its motivated a lot of artists, I think a lot of artists are inspired by responding to whats going on. SO its been a collective you know like huge um you know all his actions are so so knee jerking that people want to respond to it in any way he can whether its his misogyny or his racism or you know his political agenda with regards to like gun rights like whatever theres like so many issues going on.

RG: And given that a lot of the work you exhibit is about empowerment or even sexual empowerment, what is your opinion on sex workers?

IC: I mean I personally advocate for the decriminalization of sex work, I think its really important evolution that has to happen with regards to like reducing sex trafficking and also having an affect on women's health and safety that work in those environments and i personally feel like its your not trafficked into that but if you choose work work in the industry, i mean its like abortion rights, the right to choose you have a right to choose to do with our body and if you choose to go into that line of work then you should be able to do it in a healthy and safe environment. I think the issues of sex trafficking are big problem in our society and um thats something that needs to be sort of curtailed and while its illegal its really hard for that to be addressed in a large way. Its a really complicated issue thought because some countries like germany tried to legalize prostitution as a means to reduce sex trafficking and its actually made the issue worse they have like maybe 4 times more sex workers than they did like ten years ago, and a lot of the movement have actually been brought down for trafficking so its a very tricky situation and it needs a large amount of regulation and its not an open ended thing it needs to be extremely thought out and not just done in like a small area, its a big problem when you have one place that its legal and everywhere else its illegal and it draws everyone to that place and then things get out of control, so you know just like drug control its very similar to like you know the legalities of like drugs its the same way in which something like that can be addressed. Amnesty International has come out for the decriminalization of sex trafficking issues and I think its something we're definitely going to hear more about in politics in the next decades its gonna be a bigger and bigger issue.

RG: Do you exhibit any work by artists who are also sex workers in your gallery?

IC: We have in the past. Nobody that I would want to name personally but we have in the past.

RG: I actually know Jackie (a model in one of the photos in the exhibit) what was it like working with her?

IC: Jacky was extremely confident she invited me to her home to do a photoshoot it was like very straightforward in a sense she is a very sort of um how shall i say forthright outspoken person and i told her that i was working on this series and she was excited to be a part of it and she invited me to her house to do this series. We actually have a big interview although I haven't published it, I probably won't because I feel it's not the right timing, it might be incriminating.

RG: What was the interview for?

IC: I'm also the editor in chief of a magazine called the untitled magazine and when I did the series with her it was as a journalist and sort of artist. Um, and she agreed to the interview and to be photographed for it.

At this point Indira asked me to stop recording and send her a copy of it. She told me she thought Jackie was a "good person" but inexperienced in the industry. She told me she removed Jackie's name, Maidenfed, from the exhibit, meaning she was not credited as representing herself in a photoshoot which had the intent of demystifying the nature of sex workers and giving identity to them. She said she did not want her gallery to be associated with Maidenfed at this point, and that she probably will not publish the interview she did was Jackie for that reason. I asked her why she removed Jackie's name from the credits in the show, and she said she felt it was not relevant and not the right time politically to represent a sex worker with such strong opinions and voice. I could have continued this discussion with her but was starting to get a little nervous given that her tone drastically shifted from charming and polite to defensive and somewhat displeased. I thanked her for her time and looked at the rest of the exhibit.

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