#dasta sharing

[novopaybanking]

Is your lending platform Account Aggregator ready?

Account Aggregators are here to transform the digital lending sector as they bring absolute control for borrowers along with great convenience for lenders making it a win-win for both. Regulated and mandated by RBI, the Account Aggregation framework can be best defined as a platform collecting user’s personal financial data from Financial Information Providers (FIP) with consent and sharing it with the Financial Information Users (FIU) such as lenders making the process much faster while ensuring data is secured.

What does this mean for a User?

User-Controlled Data Sharing:

‍AA framework gives the users control of their data like nothing ever has. Known as an interoperable data-blind consent manager, this platform cannot read, use or sell consumer data which is encrypted by the user with digital signatures. The AA simply collects data and transfers it to FIUs who can decrypt and use the data as consented for. It equips the user to share data selectively, for a stipulated duration of time, and even withdraw the data once shared; giving the user complete visibility of when and where the data is being shared.

Simplifying Wealth Management:

‍Calling the AA system as your one-stop solution for managing multifarious financial assets and transactions wouldn’t be wrong. The user may consolidate all financial data across various applications to create a single touch-point through an account aggregator empowering the user in more ways than one. Along with the ease of sharing data with the service provider, the user gets a wholesome look at the portfolio and is able to closely monitor expenditure thus making wealth management simpler, faster and more secure. Consolidated data showing cash inflows through various sources can also help enhance a user’s credit scoring and underwriting.

Accelerating Lending Operations: 

A consolidated system will eventually improve the efficiency of every financial operation. Registering on an AA platform via a financial entity eliminates a lot of time-consuming processes like queuing outside the bank, KYC, stamping documents et al. The lending agency can now quickly pull out borrowers’ accurate financial history, follow due diligence digitally and expedite the lending process.

Data on Fingertips:

The best part about getting on the AA framework? Consent, data-tracking, or connecting to the agency of your choice can now be managed through a simple app on the phone! Finally, feel in control? Yes, you are.

Read More: https://www.novopaybanking.com/blog/is-your-lending-platform-account-aggregator-ready

[thatskycora]

ORIGINAL CHARACTERS

Cora

Creator's skysona/skykid.

Bun

Bunny cosmetic prop turned into skykid. Cora's companion.

Surimi/Curacha

Skykid who prefers to dress with a crab aesthetic. Normally roams on Golden Wasteland, specially on Forgotten Ark to be Enchantment's guide disciple.

Krill and lobster, the dragon/dark brothers

Both skykids often wander Golden Wasteland. One expert underwater,

Bird

Skykid with huge bird influence. Loves everything that are bird related or are associated with art: Valley of Triumph, Season of Rhythm, Flight, Performance, Lightseekers... Is constantly learning or practicing, sharing their artworks

Mobula and Dasta, the manta twins

The yin and the yang. One craves for the victory, the other craves for knowledge.

Jell

Quiet skykid. Prefers to explore the realms, carrying it's umbrella around.

Butterfly

Dresses similarly to a moth. Usually on Isle or Prairie to guide the newcomers.

[squirrelno2]

❌ and 📝 for the WIP ask game

❌What WIP do you find the most challenging? Why? - regrettably it's the one I had meant to work on after dead brothers coalition, where Han Solo time travels to just before the clone wars and teams up with Cody. I have soooo many ideas for character interactions and arcs and every time I open it up I realise that I don't know... what the actual plot is? I need a framework for me to hang all these cool scenes on but I, like Han himself, have no idea how the hell what to do once they're in place

📝Share a snippet of an unposted WIP, with or without context.

(The hardest part of this is picking a WIP I have so many - this is from a Cody-centric fic featuring my sudden impulse to create a bounty hunter oc)

“I don’t buy it,” Cody said. “You and your itchy trigger finger.” “Sure it itches,” Dasta said. “I have a skin condition.” “When someone’s wanted dead or alive, you always bring them in alive, even when it’d be easier to shoot them and be done with it,” Cody said. “Are you telling me I ought to commit more murders? Cody, make up your mind.” “I’m telling you that if anyone understands when killing is the best option, it’s a soldier. You don’t like to fight nearly as much as you pretend.” Dasta really wished he’d left Cody on some nowhere planet when he found out he couldn’t turn the clone in. “Bounty hunting is just a job,” he said. “Maybe some of us like it. Maybe they set the tone for the rest of us, until you can’t get any respect if you’re not some kind of bastard. I never cared too much about being a good person, so the job was fine. Itchy trigger fingers get a guy paid more.”

[siamrisetravel-blog]

SiamRise Travel has been invited by Dasta Thailand, Sukhothai Office or DASTA4 to share our experiences as we are the tour operator who provides the eco-friendly local activities in Bangkok and neighborhoods.

#SiamRiseTravel #travel #Bangkok #DASTA #DASTA4 #EcoFriendly #movement #sharing #neighborhood #sukhothai #tak #KamphaengPhet #Phitsanulok #ResponsibleTravel #TourismDevelopment #SDGs #SustainableDevelopmentGoals

[musicmapglobal]

India's Jwala collective are spreading the fire (Insight: New Delhi / Mumbai)

Currently consisting of eight members, Jwala’s combination of work ethic, youthful talent and mastery of a range of styles is making the collective an essential addition to India’s DIY music scene. With most members currently still in their teenage years, much of the press around them has focused on the surprise that their generation are able to form a motivated and multifaceted artistic movement. As they discuss below, they’d rather be critiqued on their output than their youth.

Jwala are impressive enough without commenting on their ages anyway. In typical internet culture fashion, it’s the attitude rather than the aesthetic that is considered paramount. Genre wise, their scene encompasses producers wanting to recreate the big room EDM of major names like Deadmau5 and Skrillex, while others tap into traditional Indian timbres, which both sit alongside various forms of pop, lo-fi and experimentation. What they all share is eagerness to be involved, both with each other and the world around them.

We reached out to the collective to get all the insider info on their history, hometowns, activity, and plans for the future.

Describe where you live in ten words or less.

Brij Dalvi (Three Oscillators / zzz)): In the suburbs, in town, we’re scattered everywhere.

Ayush Jajoria (Ayush.): I live in New Delhi, India and it’s nothing compared to what you expect it to be, still decent. Could be worse.

Palash Kothari (Sparkle & Fade): All of us live in different areas of two major cities of India, Delhi and Mumbai. Although I think it’s the internet where we all grew up so geography never really mattered too much.

Who are you, and what first got you interested in music production?

Brij Dalvi: Well I used to listen to a lot of Skrillex and Savant and a host of other artists back when I was in junior college. It was the sounds that they made that made me want to explore music production further because I wanted to emulate these guys.

Ayush Jajoria: I am an independent indie musician/music producer with the interest varying in lots of different genres but for the most part indie Music is my thing. What first got me interested in music production or rather electronic music in general was Deadmau5 and Armin van Buuren I think. Back in the day I was really fascinated by the sound they created as it was something totally new to me so I was so so soo amazed by it that I wanted to see how it’d been created. One time during my summer holidays I gave it a go and here I am.

Palash Kothari: I’m currently studying journalism and have been making music as Sparkle & Fade for almost two years now but I’ve messed around with other aliases before. Music production for me started off when I was in junior high school as a means to be able to write and record without really going through the trouble of putting a band together. I got into electronic music a couple of months after. I didn’t even realise how it transitioned from being a hobby to something that I’d do most of my teenage life.

Jwala consists of around seven artists, could you give us an overview of the players involved?

Brij Dalvi: We’re actually eight members now; we just included a new member from Delhi some time ago. To give you an overview:

Palash Kothari goes by the stage name Sparkle & Fade and he’s the one who planted the seed to forming a collective, and we all joined. Palash makes chilled out, introspective tunes, sometimes loaded with Indian instruments. Karan Kanchan uses his own name on stage and is influenced by Japan and its vibrant culture, and it’s reflected in a ton of his tracks that loosely fall under the “Trap” category, but have distinct identities of their own, thanks to Karan’s sound designing skills.

Apurv Agarwal goes by the name Cowboy and Sailor Man, and during the times that he doesn’t make songs for his solo project he produces for several Indian bands and is a member of several more, as a guitarist or a synthesist. Ayush Jajoria goes by the stage name Ayush. His tunes fall under the Garage and ambient categories, and he has some aliases in development that aim to cover genres pertaining to dance and harder styles of electronic music.

Nikunj Patel aka Moebius does a lot of visual work apart from his music. He makes a lot of trip-hop and offbeat electronica, usually influenced by a ton of movies, and is a major contributor to most of our artworks. Veer Kowli (aka Chrms) mostly makes future bass and trap, while occasionally indulging in ambient soundscapes. Veer also dabbles in graphics and film making from time to time, all self-taught.

Dolorblind is Rohan Sinha, an industrial design student who makes a lot of dark, eerie ambient music. He’s the newest member of Jwala and only one out of the two people from Delhi (the other being Ayush.) The rest of us are from Mumbai.

I have two main projects: Three Oscillators (with my friend Avit Rane) and zzz. Under Three Oscillators we make a lot of post-dubstep and glitch-hop, while as zzz I make a ton of lo-fi.

Your collective output consists of a lot of future beats and chilled hip-hop vibes, who are the artists that inspire you?

Palash Kothari: I’m sure we have a long list of influences but for the most part we’re very inspired by each other. It was what made us leave the ‘online’ space and work together to build something which stretches to real offline interaction.

In terms of sound, I’d say Four Tet has been the biggest inspiration. I also had the privilege of meeting him when he played at Magnetic Fields Festival in Rajasthan last December. Yeah, Four Tet, Porter Robinson, Madeon, Anoushka Shankar, Shivkumar Sharma, MIDIval Punditz, Bon Iver, AR Rahman, Talvin Singh etc.

Ayush Jajoria: Mainly we all inspire each other to do better work but my personal picks are Owesey, Enzalla, joji, Direct etc.

What’s the ‘motto’ of the Jwala collective (if there is one)?

Brij Dalvi: Spread the fire (Jwala means fire in Hindi).

Talk to us about your local scenes, what venues and parties are you playing?

Brij Dalvi: As a collective, we’ve played thrice ’till now. It has been a privilege to play at some of the best venues in Mumbai, like Raasta and antiSOCIAL. As individuals, we play often at some usual places not limited to the aforementioned spots.

Palash Kothari: A lot of gigs which happen here are DIY or semi-DIY, where neither the artist or the promoter makes money. There’s a lot of stuff happening in different pockets of the country and a lot of people are doing what they do just for the love of music without expecting anything in return. I see a lot of people curb creativity for a fatter booking fee but where there’s no money (like a lot of the space here) everybody does what they feel like without giving much of a fuck.

Personally I’ve played everything from the “typical” party where people come in, drink their hearts out and music is just there in the background to extremely ‘experimental’ ones where I have complete creative freedom and am not expected to sell any booze.

What are the most important artists from your scene, both from Jwala and elsewhere, who we should be listening to?

Palash Kothari: These are some of the biggest names in the scene, in no particular order…

A lot of the articles around you mention your ages, usually the writers are surprised you’re that young. Does this focus on your age annoy you or is this something you think about as well?

Brij Dalvi: It’s definitely a little annoying. We’d rather be judged on the content we put out rather than the fact that we’re below 25 or something. The surprise element doesn’t exist anymore, because there are several young kids doing some amazing stuff out there, and it’s not only limited to music. Age shouldn’t be a bragging right in music. However old you are, if you’re a hard worker and you make good music, you deserve the spotlight in equal measure.

Ayush Jajoria: It’s good to know the context before reading but at times it does get a bit annoying, seeing our age be the focus point of all this. While I don’t mind it much, I still would like them to focus more on our music and what we are doing rather than on the personal aspect of it.

Palash Kothari: I think most of it is because ’15 year old xyz’ would get more clicks than ‘producer xyz’ in an article. Some of it is also genuine surprise because there’s some sort of new wave of young producers flooding in the [independent] ‘scene’ previously dominated by an older age group.

What is the DIY/internet community like in India, are there other collectives or artists who inspired you to start Jwala? I see the REProduce name pop up in relation to you quite a lot…

Brij Dalvi: It’s still nascent but it’s growing. Our city has a collective named Dasta and a label named Nrtya. They’re both doing some amazing work when it comes to propagating music production and the so-called DIY culture, and we’re doing something along the same lines.

As far as REProduce goes, it is headed by Rana Ghose, and he organises Listening Rooms around India. The concept is: people come for the gig and absorb the music on their own terms. These Listening Rooms are the reason we could express our music freely, and it was one such Listening Room during the end of April that we were all on the same lineup. Most of us met each other for the first time there. We got together on Facebook a couple of months later and that’s how Jwala happened.

Ayush Jajoria: The idea behind Jwala was to combine our friendship and love for the similar taste in music into a collective a group thing. Usually the live acts around us inspire us to do more and do it better, and with the help and support from REProduce artists, and Rana Ghose, we get to do that, which is really nice and we can’t thank him enough for it.

Palash Kothari: Bollywood and Commercial ‘EDM’ is huge in India because there’s that kind of an audience. For some reason ‘alternative’ genres haven’t been able to get that coverage barring a few circles in urban cities but that’s changing slowly. Even if I live in a small city, because of the internet I’m exposed to certain genres of music which nobody around me even knows exist, there’s not a lot I can do to further explore my interests except move to a bigger city and that is a financial hustle.

Also, India in general has a very small English-speaking urban population and that too is concentrated in major cities like Mumbai, Delhi, Bangalore and Chennai. There’s also prohibition in a few states and add that to the level of corruption involved at both the lower rungs and the upper rungs of the government…

It’s difficult to get police permission to organise gigs unless you have the connection or the money to bribe and even if you do somehow put something together, the few who show up won’t be able to support your model. You’re limited to a handful of venues in the city who also don’t want to take risks booking acts ‘too experimental’. This is where REProduce comes in.

What are your goals for 2018?

Brij Dalvi: Apart from increasing our reach tremendously, we want to be a more accessible source for electronic music in India, and we want to further facilitate the producer community here in various ways. Because it needs to grow, both in terms of artistic output and fanbase. Small steps at a time!

Interview by Nicholas Burman