Final speaker for today, oh I have this, I don't know why I'm doing the space bar, but I'd like to welcome Kelvin Lim, who's sitting in the back watching everyone. He is the founder and principal coach at Executive Coach International. He was the first master coach here in Singapore. To give you a sense of that, there are 17,000 certified coaches across the world, about 600 or so master coaches, and he was the first one here in Southeast Asia, my bad. And a lot of his projects are around developing potential, helping people live up to their fullest, and combining humanitarian campaigns, things that do good for the world with innovative businesses. So please welcome Kelvin Lim. Thank you. I'm going to pass that to Kenneth, you got that? Hi. Hi. Good evening. Good evening. Well, so the first thing I'm going to say is that I swear all the time. So there are people who know that I swear a lot, I swear a lot. And then sometimes they've got to go, Kelvin, do not make a public appearance because you're going to swear again, and some people are going to get turned off.   You know what I'm saying? And then there they are telling us how to live our lives. And I'm sitting there going, excuse me, that doesn't quite job, but ma'am, are you happy?  And I go, what has that got to do with my grades? And they're going to, they do the Chinese thing called gongbao si chou, you know? That means the male would hug the silk. Gongbao si chou, is that not the translation? Well, as you can tell, I didn't really learn my Chinese very well, which is most unfortunate, you know, given that China's a big thing now. So the first thing I'm going to say is that, you know, I didn't have a job.  You know, I kind of did Amway straight away, Stephen. And I went, oh yeah, I want to be rich. And I went after that. And I went to the National Chiever's Congress in Singapore and they were telling me how I could become successful. And I went, yeah. And I tried it for a couple of years. And I realized that after the third year going to the National Achiever's Congress that the same guys were sitting next to me yelling the same slogan, yeah, we will be successful. And I started going, when? And then I realized that there was something wrong with that. And I went, it cannot be because obviously there are people who are succeeding, but not me. And not the guy beside me. And not that guy over there. And if somebody in the world is succeeding, that means I must have the formula wrong. So I never really got the job. I wasn't really employable. I got in bed, I mean, sorry, I got in business with one of my friends from Jenin College and then almost straight away after I graduated and it was a big mess up.  One, I had the wrong partners. They all had different intentions, different directions, and they all had different, they wanted to do different things with the business. Some of them wanted to be, you know, stylish. Some of them wanted to be rich. Some of them wanted knowledge. I wanted knowledge, you know, and other people just wanted to be their friends. And we were all running in different directions. And the worst thing was, we brought in this guy from overseas, you know, to, because he had some knowledge and he was going to become the expert down here. And we didn't control the process. We brought him to the client. And the next thing we knew, he was trying to cut the deal with our client. And I like, I can't trust them. And then, now apparently he had spoken to one of my other partners, we had five of them, so that was really messy. We spoke to one of them and then offered him a bribe if he got the deal. And so my partner was playing me out. And I was supposed to give them $5,000, so I did something that any smart entrepreneur would do. I told them I was broke, I gave them $500, and I disappeared.   Exactly. So I walked.  It takes about 10 to 15 years for you to become an overnight success. You know, it was not too long, you know, just the average time needed. All right, so can we, all right, so the first thing I'm going to do, now being an entrepreneur is lonely, right? Anybody who takes that road, you should know that. Okay, first of all, you know, you're trying to succeed. No one believes in you. Your parents don't believe in you. Your friends don't believe in you.  And I go, and then what? At the end of the day, after I retire, what do I get? What do I get? CPF, whose money is that mine? So what's that got to do with that? What's it got to do with anything? You're going to give me a golden watch.  I didn't believe in jobs. I was working in university in my second year when I realized that I wasn't really that interested in studying. I realized that studying was a waste of time. So I did my 3.5 GPA average, you know, got my straight A's and B's, and basically didn't attend any lectures except to analyze the teacher's personality, the lecture's personality, just to understand what kind of questions they were going to give me. So that was useful. So I didn't mess up in that way. I didn't mess up in that way. But I messed up in different ways.  I'm not talking about betting on you to make money. Everybody's going to bet on you to make money.  If they think you can bring in the cash, they will buy into you, but they're expecting you to return money to them if they invest in your company. It's very simple. They expect you to bring money back to them. And then who's going to take care of you? You. And every time you mess up, every time you don't get the deal, every time you have to wake up to another boring day of not getting results, you know, the only thing that's left in you is you believing in you. And that's really that. So one of the reasons why I like being an entrepreneur, I like to do my thing is because I like an exciting lifestyle. I like to do my own thing.  That's the lifestyle we want, right? But you don't start that way.  You got to talk to people all the time.  You just keep doing and you're going to get bored. And if you think working was boring, being an entrepreneur is even boringer. Seriously, because there is no paycheck, you know that. You don't bring home the dog, you don't bring home the, sorry, dog. What country were you in? Not China, right? We're in Singapore, right? We don't eat dogs in Singapore, right?     If I don't succeed in my business, would I still be employable? Somebody still hire me. And you go, if I fail, never mind. Maybe I'll just take a lower entry job, I'll go back into the workforce and do that. And everybody thinks that way. And after a certain part of the time, you know, past a certain point, you're not employable anymore. And you're either going to make it or you're not going to make it.  All right, next. All right, how to be smart. What does smart mean? Everybody says you're going to be smart, all right? Let me share a story. This is about one of my clients I worked with. You know, the guy I wanted to, he asked me, I'm not selling on my franchises. And I went, tell me about your franchise. And then he said, I'm selling for about $5,000. And then, you know, I've been selling for two years. I've invested over $100,000, getting the right consultation, and doing things like that so that people will buy into this package. And I went, OK, great. Tell me a little bit more about your franchise. You know, does it have branding? No. It's a tuition center, right? So does it have a design that's unique? No. Does it have teachers? No. Do you have a track record? No.  No. I'm not getting it. So what makes it a franchise? And then he went, I believe in it. Apparently he invested over $100,000 to go to motivational seminars that told him, yes, he can do it. And then he will punch his hands into the air over a lousy idea and go, yeah, somebody's going to buy that. And I asked him one final question. Would you pay $5,000 if I sold you this franchise? And he said, no.  And you've been doing this for two years?   If you're not going to wake up to the fact that you have no, you have no viable proposition to anybody, even you are not going to buy your own business, then what makes you think you're going to succeed with this anyway? And the guy got upset with me. He left. So that's one way not to be smart. Don't do that. So check with somebody. If you ask the final question, would you, two things, would you hire you as a partner? Would you invest in you and your idea? If your answer is no, scrap the idea, start again. Next slide. OK, integrity. Basic, basic, basic rule. If you don't have integrity, the people, I'm not saying you have to be good to everybody in the world, but you've got to be at least in integrity to the people that matter to you. Your closest business partners, the people who you promise to support, and if you're not there for them and they realize that that's not the case, that you don't promise your word and you slip once, I mean, I forgive you, but if you do it consistently, you're gone. And without that circle around you, without that kind of support, it is a problem. It is a huge problem.  Conversation. You don't talk about your business, nobody does. I picked a bad partner in one of my ventures. We were supposed to run classes and groups where we raised about 20 people each time to 30 people. And then she would tell me, I have two people signed up for the class and I am talking to two more people. And I said, you have two more weeks left. Why are you talking to two people? Because they said maybe they will join. And I go, don't you think you should be talking to 200 other people instead of these two people? And I said, yeah, but they, and I went, never mind. So it's about that conversation. You need to get that out there. Who's going to sell your product? Who's going to buy into that? Who's going to believe in what you have to offer? You really have a viable product. Then you have to be out there paddling the thing.  You got to sell the idea. Where do you set one other person to convince them because they are very powerful decision maker or your extrovert that you can talk to 10,000s of people, you got the top. All right, so see, do not do this. This is like working really hard, having a lot of stress, doing too much and not taking time off for yourself. Do not do this.  Health is a problem. Okay, do not sacrifice that again. And even more than that, there's another thing that you don't do. You don't sacrifice the people who work for you, who are loyal to you. You defend them. And I made that mistake. When there were two people in my organization fighting against each other, I didn't defend them against each other. I let them do as they like, maybe hoping they were going to work it out. And I realized that's not the way the game is played. You got to intervene. You got to step in, you got to stop the fight, you got to clear the fight, you got to make sure that it's cleaned up. Otherwise they're going to think that you're sacrificing them for the other person. Okay, all right, next. Team, you always need to have a team. Okay, going at it alone is great if you're very, very, very capable and talented, but otherwise you need people to support other functions where you are not capable of. Whether it's a team that you hire or it's a team that you partner or a team that you groom, you got to be able to get them to help you.  And that's when my ego gets in the way. And a lot of times I don't let the people who want to help me, who are in my team, help me. And I go, nevermind, I'll be able to handle it. I'll be able to take it out. I'll be able to solve the problem. Boss is coming to the rescue. That's the slogan that goes around these days. Oh, he's here to rescue us. And then they end up not doing the thing and you don't end up empowering these people. And you got to learn to trust. You have to. These days, you don't succeed alone. Maybe 30 years ago, you could, but today, no. Okay, the days of the individual achiever is not quite there anymore. There's a context to it. Right, next. All right, this is more personal. So, how many of you heard of the Camino de Santiago? And I would walk 500 miles, you know? That one, yeah, 500 miles, you know? From France all the way to Spain was 500 miles. The first day I was very, very, very, I chung up the hill, right, you know, like in the army.  Up hill, through the wilderness. And then at dinner, I was sitting there and the guys were asking me, so, how did you train for this? And I went, train, you get the idea, okay? So, you know, what happened was that, you know, I got busy working on my business and I never gave time to myself. I never felt safe in letting it go. I never believed that I could let it go for a month or two and, you know, just do absolutely nothing. And then it was after 10 years that I went to a certain state and I went, okay, I feel safe enough, I'm gonna let go.  And that's when I ran. And of course, you know, as usual, they packed me up to the last day before I left, so, you know, I was really busy up to that point of time. So I never had a chance to train. So, you know, if there's any advice I can give you, you have to give yourself space, a lot of space, a lot of time. Thanks. Okay, partner. At one of the peaks of my career, I was asked to head up, you know, being in second command for a multinational organization in Asia. It was a, you know, leadership role I was put on the board and they offered me a $2 million pay pack. I mean, a $2 million share package with a approximately $400,000 package, you know, in terms of my annual. And I was 33. Same age! Ah! That's the time when we are like, you know, arrogant, right? And I told my partner, Dan, my fiance, then, you know, hey, you know, this is what I wanted to do for my life and this is something I want to choose.  And I went, but this is my dream. And you know, after investing into that relationship of five years, I realized that, you know, we don't want the same part.  Or at least allow you. So, you know, I'm taking Stephen's advice, you know, I'm still single. I'm married, late, but, you know, sometimes it's difficult to find the right person to support you. And that is so important. That is so, so important. Because I've met so many, and I coached many entrepreneurs and whenever they had issues in their family and it takes away their energy to focus on their task, sometimes they fail because of that. All right, the most important thing of all is that, you know, as much as we are, you know, trying to become successful, wealthy, put our idea in the world, we have something bigger than us in this universe that dictates what we do and who we are. And it's actually a very clever move to find out what it is. Call it, you know, I don't buy into religion, okay? But I do buy into that, you know, if a person can mechanically access certain states of mind, you can actually begin to get in touch with these things that puts you into very, very powerful states, okay? And these states are measurable because, you know, I'm actually associated with a lab where they hook me up on an encephalogram and I go into those states, you know, of connectedness or flow, whatever you wanna call it, right? Okay, and they can measure that I reach those states, you know, from a technical point of view. And you know, these things exist, they have a lot of power to empower you. And I'm not saying that, you know, if anything is really about reaching down deep inside yourself so deep when you are in such times of trouble that you can find that power within you that can bring you into the next step and the next step and get you going again.  And of course, you know, standing within that source, you're also trying to do something for the greater good. So it's not just about what we do and what we're capable of proving out in our world, but to be able to take what we can and what can we do for our community? What can we do as leaders in this world and how to give back as a contribution? And I think that's very important because that also gives us, you know, a meaning in our place and our purpose. So that's kind of where I come from. So, last slide. Okay, so those are basic steps that I spoke about, okay? So if you're gonna get started, please remember these things. I hope that will help you. If you want a copy of these slides, well, just let me know and then I'll let you guys have that. That's all I have for you guys tonight. Thank you very much. Do you want to share in detail your fuck-up on integrity? I'm a coach. I lead seminars. I stand in a position where I help a lot of people and there is a difference between you being able to assist somebody in helping them and rescuing them and then when you rescue them too much, sometimes it costs. And then there's too much expectations.  Basics. Yes, sorry. I'll come back to you. Basic steps to get out of these things. How you got out of them. You got to pick one of these things and hold on to those. I've gotten out of bed by running, by talking over and over again.  And then I'll try again the next day. I'll try again the next day. I'll try again the next day. I've basically pawned this as tight as a part when it didn't work. And just to find out, you know, what exactly am I actually selling that is unique in its own way that can often etch versus somebody else. Otherwise, there's no point in me doing a business. Repetition, belief, source. And there was one time I was really, really, really lost. Really lost. And I was just doing the thing I always do when I get really lost. I will tidy my room.  So one day I just got enough. I just started packing my room. And I was packing, packing, packing.    You know, this is my X number of business. I'm not making it. You know, where's my next break going to be? And I felt this strange presence flutter in from my window and it wrapped itself around me. And look, I'm not religious, right? And it wrapped itself around me and I heard this voice whisper in my ear and says, everything's going to be just fine. And I just broke down and I cried.  To this day, I think it was some kind of alien who came in or something. Could be an angel, I don't know. But the point is that, you know, it was times like this when, you know, when I thought I was really, really down and it just grabbed me and pulled me up again. And, you know, because I really believed in what I did. It's just that sometimes you get so tired and you run out of energy that you don't know where you can go on. Partner, you have to find the right partner to support you. But it's not easy to live with you.  Maybe, you know, the right person to support you, but how do you support this person too? I see both ways. Well, you have to watch a movie called What Do Women Want? What Women Want? Okay, so I made a mistake of not being very clear in my communication with my partner back then. I didn't have the wisdom that I have today. I didn't know how to interrogate my partner for want of a better word. To know whether this person is someone that's going to be with you thick and thin and to be able to know whether this person's going to be able to sauce themselves while sourcing themselves with me. So, if you end up having a partner who requires you to be their everything, you know, that also includes you being their close hanger. You're my everything. That means you're my close hanger, you're my dustbin, you're my, et cetera, all of that stuff, which means basically the person has got no independence streak. In other words, you know, they are not coming from they know who they are. They're coming from I'm with you to find out who I am.  So, we are talking about people who have done their piece of soul searching to know who they are and go, this is who I am, this is what I have to offer, what do you have? And then there's an exchange. And then when that exchange occurs, then it's very clear about what you're getting out of it.  I got to, I mean, I always fail, you know, and I promise to do better. So, you know, that becomes the game. So, it becomes what is it she wants from you? What is it you want from them?  It simply doesn't work. That's like the biggest mistake. That's like, can I answer that? No? Okay, cool. Merci beaucoup. Any other questions? Yes? What would you do differently if you had a chance to start over again? Don't join them. On the contrary, it was very useful. You know, it was very useful because it made me dream about what it meant to be very, very wealthy.   You know what I mean? I was serious. And then my response to him said, doesn't everyone want to be a millonet? I mean, he asked me whether I'm going to be successful in 10 years' time. But I want to be successful when I was 30 and I was 23 then. He said, no, no, no, no, give me 10 years like everybody else. Make it fair, all right? This is a bit of a 20-year-old question. So I said, I want to be a vice president of a multinational company by the time I'm 33, 10 years from now, and I want to be a millonet. Then he asked me, what do you want the money for? And then I said, doesn't everyone? I said, yeah, but, you know, but what do you want it for?  You're going to sleep on one bed.  And he was, I mean, because I trusted him and went up to the university. He gave me, he let me run Monash's advertising program as a student when I was in second year. That was worth a quarter of millon dollars. That was the whole Monash's advertising budget and he gave that to me. So he's going to redesign it and then he gave me that job. Of course, they had to give me a high distinction. You know, it was otherwise, it was bad for the university's reputation. But that was that thing. So I trusted him. And when he questioned me, I was like, yeah, I really don't know. And what is the money for? I will throw you the same question. What's that money for? Are we done? Okay. All right, thank you.


Thank you of our all for inviting me here today. It is indeed a great pleasure and a great honor and I really feel very humbled by it because truly as I explained to Peter. I'm not really a Scholar scholar, you know I'm a hobby scholar and I do scholarship as a hobby and I have been doing art in various Subjects and in various fields. So I have been an editor of Mark publications. I have was Director of the National Gallery of Modern Art in Mumbai And so I've shifted fields and I've gone to various areas and I haven't really stuck to Just doing scholarship and therefore I feel very honored today that Peter decided to invite me and an Invitation that I accepted with much trepidation Because with all these scholars around here, I don't know how this lecture will be Will be received, but I hope you will all enjoy it because truly it's a visual delight. I started studying giant painting as my PhD thesis and the idea was that Though giant painting of the Shwetambar group was very well known of the Digambars not much was known and they for my Advisor Dr. Moti Chandra felt that perhaps with our family connections I would be able to find some interesting things which would help in in The study of giant art So I started as per his wishes and started going to giant libraries and I was indeed extremely happy that on one of my initial trips I went to a place called Karanja and There by chance just by chance. I Discovered a painted scroll Which was 40 feet long and three feet wide It is I don't really want to go into the details of it, but those are really the beauties of Discovering objects when you're doing your study and research Very often research can be so frustrating because you may go to various places and not find anything But this particular in this instance. I had found some things in the giant libraries at Karanja It was my very first trip to find objects and To and there as we were about to leave They insisted that I have a cup of tea with them and now you know, this is 40 years ago and Tea meant that you know, it would take time for them to those were the days when it was not always possible to have Have gas for lighting So it was those primer stores, which is they pumped and then they made tea which took about half an hour So while chatting with them over tea, I asked them that do you by any chance have anything on cloth and So they said yes, we do we have a painted scroll and so I said do you think I could see it and They said certainly but then it meant getting the key then it meant getting a lamp to see it And it meant going into a storeroom and that storeroom was so dark And it was it the temple was under repairs So we found all sorts of objects there, you know wooden beams and broken glass and bow big sort of basins of cement and it was like going like an obstacle course above the beam and around the cement and Around the glass and into the corner Where we saw this rule and it was so dark and it's so late. So I just said do you think I could Just take a corner and look if it is if it is something that I'm looking for and They said is that the way to look at religious objects? So of course I was I was very sorry I had said that and I said no Well, you take it out they took it and they took it to the corridor of the temple Which was like a long corridor like this and they unrolled it like a bolt of cloth and I Just held my breath. I mean there was this breath taking scroll 40 feet long three feet wide fully painted So we didn't leave that day. We stayed another two days We photographed it and that's how my journey into Indian art began and today I would like to share with you at that time I thought it was very beautiful, but I didn't realize how important it was Not only important from the point of view of art history Which was my subject but also point of view of social Situations that occur due to historical circumstances and as we go along I'll talk about it so that you can see the importance of stylistic development and Also, how these developments are influenced by circumstances historical circumstances. I Have titled this as the life of Rishabha because This scroll does tell you the right life of Rishabha and it is In keeping with the title of the seminar here today But primarily this scroll has only a few episodes from the life of Rishabha It is discusses the Panchakalyanaka Rishabha Which are the five important episodes that occur in the life of every Dirtankar But the vision is so wonderful and so I've just titled it the life of Rishabha a painted vision This is how long the scroll is and it's divided. Sorry, I can't see okay This is how long the scroll is and it's divided into panels as you can see and In groups of panels the Panchakalyanaka is Is a display and I have Shown you the Panchakalyanaka here. This is the garbakalyanaka. This is the Janma Kalyanaka. It's such a big length of Janma Kalyanaka Then we have a small bit of Diksha Kalyanaka, this is This is Keval Gyan Kalyanaka and this is Moksha Kalyanaka So from this you can see how much importance is given to this and this is what is so different about the scroll because generally in Jain painting We don't find so much description and so much importance given to each of the Kalyanaks But here there is a certain celebratory Joyful depiction and this is in many ways contrary to what you usually see in Jain paintings Which are extremely matter-of-fact. They just tell you the story in Bare and bald terms very little landscape or architecture is shown But this particular scroll in that sense is very unusual and very beautiful Panchakalyanaka is probably it's extremely important to the Jain's and it is shown in various manners It is shown as fresco paintings as you see over here These are from Tirupati, Kundaram Then sometimes the entire episode is not shown. It's only shown by certain Symbols like this, which is Samavsaran, which is Keval Gyan Kalyanaka This is again Keval Gyan Kalyanaka in bronze This is a painting and this is a wooden carving in a wooden mandap and it shows This this is Janma Kalyanaka of an elephant showing with many trunks and tusks and lotus legs on top and Upsara is dancing on it So this is the way in which the Kalyanaksa are shown. They are often shown singly Not always collectively and just by looking at one, you know what it represents The scroll begins with Adi Dheep This is the manner in which most in Jain stories begin with the picture of Adi Dheep This picture is sort of turned. They should have been horizontal But it is here Where we have the city of Ayodhya. I'm sorry. This is Yeah, this should be anyway This is where the city of Ayodhya is which is where the story of Rishabha takes place This is the city of Ayodhya That is first shown in the first panel as you can see here each panel is shown where its position is By showing it to you here and this is where it is and these are Some details from it over here this figure over here and some of these Details here Now the according to the text of the Adi Purana the city of Ayodhya was built by Indra Six months before Rishabha was born He built this city on the lines of cities in heaven and in the center of the city He situated a palace for the parents of Rishabha, which is Nabiraj and Marudevi and in and Because the Tirthankar was going to be born then he Situated he made the city very big with lots of mansions and Populated it with people that were scattered all over the earth and brought them together at Ayodhya Here we see this figure of Nabiraj and his wife Marudevi and Again, which is a convention in miniature painting. You see Nabiraj again with his courtiers and this wonderful palace shown with a garden and Two walls one made of mud one made of stone and people over here indulging in daily activities There's some quite interesting little Details here. Here's a man chasing an elephant. Here's a woman buying palm So these are the sort of details that you find showing people of Ayodhya Then One night when Marudevi was sleeping At the end of the night. She saw 16 lucky dreams The first dream that she showed a song was an elephant Ayuravata the dream start from here.  This is the sequence in which it goes the goddess Shree seated and being Lustrated by celestial elephants a pair of fragrant flower garlands surrounded by humming bees The full moon ringed with stars the rising sun two golden jars covered with lotuses a pair of fish sporting in a lotus lake a Lake covered with pollen like melted gold and ocean with splashing waves which you get here These the scroll was quite damaged. So all these parts are gone You know, this this shows the sort of repairs that were done A high lion throne Celestial vehicle a mansion from the netherworlds a heap was sparkling jewels and a bright smokeless fire At the end of the night And Marudevi got up and she went to her husband and She told him about the dreams and he interpreted them for her He said the elephant meant that her son was will be an unsurpassed excellence The bull indicated that he would tower over others the lion signified that he would possess immense strength The garlands indicated that he would establish a religious order The lustration of Lakshmi symbolize their son's Lustration on Meru a moon meant the moon meant that he would be brilliant The two jars served as emblems of countless good qualities the fish meant that he would be happy the lotus lakes Signified that his body would bear auspicious signs the throne meant that he would rain on earth The celestial carriage indicated that he would descend from the sky The nag of a man from the netherworld meant that he would be clairvoyant and the heap of jewels meant that he would be virtuous The smokeless fire indicated that he would reduce all his karmas to ashes now So this is these are the lucky dreams and this is the interpretation of it and Some details for you to see how beautifully it is done Especially look at the colors and the detailing of the animal I'm sorry. This seems to be going faster Now when Marude we got these dreams Indra felt a quivering of his throne and he sent down six Comaricas these are the shutter comaricas with a detail of which you see here and this over here and These comaricas came with marvelous substances to clean and the womb of Marudevi For that they thank her to take You know to come into her womb So these are the shutter comaricas. They are re re re Sri re Druti kirti buddhi and Lakshmi. So these are the six shutter comaricas who come are sent by Indra from above I'm sorry. I don't know what is going wrong This is the interpretation of dreams Then after that Indra sent 56 dikkakumaricas to wait on Marudevi and this is truly a very beautiful miniature painting Where you see Marudevi seated in the center all these comaricas around her And what is wonderful is if you really observe the composition, look at the way in which it goes from here Then it goes around here so the eye of the Observer moves with these and comes back to her because it comes like this and back to her It's a very beautiful artistically composed composition and these are the dikkakumaricas who are seated and Praying with her the dikkakumaricas looked after her for all the nine months that she was there. They Cooked for her. They looked after her her personal Needs they looked at they played with her they entertained her they Amused her with riddles they sported with her and they even discussed poetry and literature with her So she was stimulated by their company and also well looked after by them it is important as Artistry goes the way in which these women are shown, you know They dress their ornaments their department their gestures and the way they stand This is this group here and Indra started to throw Gems and gold to enrich the earth in before Rishaba would be born sorry After nine months Rishaba was born and in the morning all these musicians played music and When Indra heard he also showered the earth with gold and when he heard that the child was born He sent Indrani, which you see here to Bring the child the idea was that she would place a mock child in front with the mother Throw the mother in a deep slumber Substitute the child and take the infant Rishaba for his lustration rights on Mount Meru This is the mother. This is the child and this is Indrani picking up the child Notice the ornaments, you know these sort of ornaments and the dress all the wonderful gold and Colours brocades that we see here These all indicate the sort of courtly Vision that we want to see here. We see Indrani coming here with the child And this is Indra on his Aravad with many trunks and tusks lotus lakes and Dancing up sorrows on them and these are the heavenly hosts that come with him So Indrani takes the child and gives it to Indra who puts him in his lap the detail of Indrani Very attenuated form and slender Very attractive depiction We are here now. We are seeing the Garbha Kalyana. I mean the Janma Kalyana the birth Now Indrani giving the child to Indra Then Indra with the child and with all the accompanying gods and other His Indra Sena as these are called Moves towards Mount Meru look at the rendition of the elephant how beautifully it is done And you know, it's about three feet. So about the size you see here These are the ups and outs Some more of the same panel this figure here one of the horses Look at his posture, you know the contra posto in which he is shown and how brilliant the colors are the reds and Interestingly the pinks and the violets that you see here the blues All these are very interesting very interesting palette. I think this movement Sorry, this is We've seen this now we go to this. This is the lustration rights on Mount Meru They say when the procession came it circumambulated the Mount Meru and then it climbed all the way up here and On the Pandukshila here There was the lustration rights that were being performed They were performed with the waters of Kshir Sagar Which were filled by pictures by gods in pictures and passed from hand to hand all the way up on both sides A wonderful landscape that we see here And the Mount Meru is completely made of gold Little figure here the lustration rights are taking place here and all the gods are accompanying them and music being played and On the return the elephant assumes this form. It is one of the most beautiful and really imaginative ways in which I have seen in Airaavath done I've seen many pictures of Airaavath like this But it would be shown with three or four tusks, but look at these tusks and the way in which these Lotuses are heredified this Wonderful composition here and this entire lotus legs with dancing up sirhas. We have all these figures details We are here now. It's the same same panel, but enlarged here for you to see how it is done and a little detail here, there's a certain rhythm and Almost like music in the way in which this Figure is done. This detail is from here After the lustration rights in Rani brings the child and Returns the baby to the elephant to the parents and there he is seated here in his father's lap These are courtiers and this is Naviraj. This is Marudhevi and See the event was the birth of the Jinnah was celebrated with great festivity and Seeing the jubilation Indra got very Excited and he started to dance and this is Indra dancing Detail of his look at the shading the way the eye is done all the saffron put on his face shading of the face Very beautifully done. This is also the color of the booty is very elegant and All the the God started playing music for him Indra dance so beautifully He danced in a manner in which sometimes he was seemed far away Sometimes he seemed near sometimes he made himself small Sometimes he made himself big so he took all sorts of shape I mean sizes and he danced beautifully with these Upsiras on his multiple hands This this is the end of Janma Kalyanak This is how big it is in the scroll and this is the figure that we see here Now these are the three scenes we have from the life of Rishabha, which which Usually do not occur in Panchakalyanak events, but these are shown here here. He is shown as a child playing with other young princes and young devakumar so little Godlings here There's again a certain nice rhythm to the whole composition After that we get his coronation his wedding Here he is seated. He marries two princesses as you can see here This is Yashasvi. This is Sunanda They were sisters and they were both married to him and this is the wedding ceremony with people and these Even as we have today in many weddings these Handas put one on top of another and After this scene goes like this thereafter We have the car the continuity of the story goes like this. There's a panel here, but it doesn't It doesn't belong to his life scenes and this is the coronation of Him becoming the king of Ayodhya now there are three scenes that we see together this It's this one and these two they should have been here, but anyway Then Rishabha was enjoying his life on earth and enjoying all the pleasures associated with kingship and He was ruling the people very well teaching them various professions also Telling them what where the town should be what they should be called etc. Etc. And then Indra felt that it was time for Rishabha to To Really propagate the Jain religion that was the reason why he was born and that is what he should Do be doing so Indra comes and he Brings with him a dancer called Nilan Janna whose life was almost coming to an end and He decided he came and she danced for Rishabha Rishabha sitting here with his courtiers And she danced but as her life ended she staggered and fell and died Indra immediately Substituted another dancer and a lot of people didn't even realize what had happened But Rishabha realized and he began to feel that the futility of life and how it could end suddenly and Then his resolve to sort of renounce wife Then the lokantika gods come and they encourage him to renounce life So then what he does is his two sons one is Bharata the other is Bahubali He give he crowns them both Bharata becomes the After him succeeds him. This is the crown prince and both were the coronation ceremonies were take taking place as he embarked on hence renunciation rights So what he does is he's shown here in his renunciation Palanquin accompanied by gods and by By his courtiers and they all take him outside the town into Wood where he would do his renunciation rights. So here is the scene of Nilanjana falling the lokantika gods coming and Worshiping him and asking him to take up the mission for which he was born on earth Here is Rishabha So these are these two scenes occur samadhi stainless Lee on one side the coronation of the two princesses taking place on The other side Rishabha is leaving his kingdom and going to become a homeless mendicant monk Here now, sorry, I don't know what's going wrong Here we are sorry This is so sensitive that a little movement also makes the slides change Which one yeah Yeah Here we are there. He goes in the Siddhartha cow woods and Pulls out his hair in five handfuls Which are accepted by Indra and then Indra throws them into the ocean of milk But with him a number of other kings also took Deeksha and so they are shown here taking them as Renouncing the world also. This is we have now the 36 emblems of the 24 Tirthankars I am personally not quite sure why this has been put here, but and Many of the persons who were there at Karanjaya asked them And they were also not able to quite give me the reason of why this particular panel is inserted in this position But these are the 24 emblems of the 24 Tirthankars Now this comes as the Keval Gyan Kalyanak of where the Rishabha receives his omniscience When he received when all he received omniscience Indra and the other gods came down and they They built the sum of Sarant some of us are on meaning a place where everyone can get knowledge and He comes and builds this circular sum of Sarant as the texts describe it as There was a circular space made of blue crushed gems and then it had four radial pathways and There were many concentric circles in between the first one consisted of step wells or In some places they say certain Stupas but anyway various descriptions in texts differ But this according to the Adi Purana, which I have been following says this was the Dhuli Shala made of many crushed gems of various colors So it was radiant like a rainbow inside was the region of step wells then came the region of The waters sparkling waters with aquatic animals in it and then came the region of bowers where creepers and shrubs and trees grew and within them were Beautiful slabs of moonstone to to rest on this is the region of bowers Then was the first enclosure in gold and then we have the Well, these don't really quite correspond to the Textual things, but this is supposed to be the woods. There were four types of woods Then there were flags that you see here Then there was another enclosure Then you get the kalpa raksha's and you get the mansions after that was the crystal wall Within that was an open area within which was built a Mandapa with 12 sections for different types of gods and people to sit Also animals and very often you were shown animals though not here which are inimical to each other So you would see a snake and a goat or something like that Or a tiger and a goat and there in the center was built a Gandakuti Which were three tiered with Lotus throne on which see it was seated Rishaba and he was seated in such a manner that he could be seen from all four sides Although he was facing east all from all sides you could see him as you know like a four-sided figure and While he was seated there as he becomes now is ready to be called a titankar He has these eight symbols around him. These are the Ashoka tree Which I think you see here the Ashoka tree the parasol the throne Then there is the halo which you don't see here Halo, then there is Pushpa Rishhti or shower of heavenly flowers then celestial music and Drums here you see the drums here. This is the Pushpa Rishhti the lion throne the halo should have been here So and the Chauri bearers that you see here. These people would have been the Chauri bearers here So these eight symbols accompany the Tirthankar wherever he goes and the whole summer Sharon meet moves with him when he spreads the message of Jainism His when he spoke it was he did not speak like in ordinary words He said when he spoke it was like the roar of the oceans But the message was clear everyone could understand what he was saying and then his ganadharas took his or his Disciples took his teachings and made them into 12 sections So this is the yantra or the symbol which represents his 12 sections of his teachings So all this is part of the sum of saran the sum of saran moved with him to various regions. He went to different cities and different areas and finally he comes to Kailas and Here at Kailas This is the detail of Kailas look how beautifully the rocks are shown He attains Keval Jnana where his soul Goes up all the way to the loka and finds rest on Siddha Sheila over here Where he let his soul rests in total bliss and this is the Kailas Is the ashtapada here? And there he seated where he attains Moksha, so this is the way in which this is painted and It was rather surprising for us to see this and at first when we looked at it Sorry We felt that this scroll must have been painted at in Rajasthan Because it had many of the features that you associate with the paintings of Rajasthan Particularly of Mayvard. These two are from Mayvard. This is also from Mayvard This is from Malwa and this is from boondi But you know the red coloring the sort of blues and all that that I use the way the figures are done all that Indicated that it was done in Rajasthan However, when you take a closer look at the paintings of the scroll what we noticed was That it had many features that I lied to boondi painting You see the way in the which these faces are done Look at the way these faces are done This is a ruddiness of the faces is a very typically boondi trait and we felt that it was Allied to boondi school of boondi and school of boondi painting Then we you take another closer look when you find that it is the way in which these figures are put Composed the coloring here. We can't see it as much but the same coloring as this and In general the the figures the tall listen figures their dress Their department their gestures their ornaments all that sort of resembled the painting here from Bikaner So was this scroll done at Bikaner and then? On at the same time Seeing those Rajasthani traits. We felt it was from Rajasthan, but We also saw things that allied it to decony paintings You know this this is a pitchway from Masali Putnam and you see this this sort of Way in which this is done. This is much more simplified, but the feeling is the same so It was again a Sort of question Could it have been done in the Deccan again? This is from the Deccan and comparisons with the Deccan if you see here See these square Sort of compartments surrounding the middle space, which is again in two registers You sort of see the same composition. This again is a cloth painting done for the European market in Golgunda dated 1635 1645 See in the way in which this panel is composed and this panel is composed The architecture reminded us of some of the later paintings from Hyderabad or Golgunda, which was earlier Golgunda look at the way in which the architecture is you know the central pavilion with two side pavilions the sort of Pavilions terrace pavilions over here there are Bengal roofs that you see here and The saw the garden over here here So again again even the rendering of the female figures and the way they are composed Had certain similarities and affinities to decony painting Here again in a procession scene You know the central figure and the way in which these figures are surrounded The way they are walking This I mean these are not identical Comparisons these give you a feeling a sense of similarity when you look at it These are the sort of similarities you begin to see and this again is a painting from the Deccan again a painting from the Deccan see this sort of circular Semi-circular composition the way in which these figures stand even their facial features and some very similar big eyes Short jolly's long Petticoats and These white sort of what cars Again to decony painting. We see the treatment of the trees, you know these sort of circular foliage You know Arranged in fully again the way in which the tree trunks are white against the foliage Here again circular Clumps of foliage the way in which these see these rocks are done Coloring in General we found more resemblances to the decony school Then Rajasthani school though the overall feeling was Rajasthani There were many features that Allied it to the decony schools now this particular Paintings that we have here These paintings these three paintings are from a rasmanjari that was painted in the Deccan for a Rajasthani patron from Mewar circa in 1650 at Aurangabad and Seeing this which also has several decony features many more paintings were to gain the coloring the sort of Way in which people sit their dress We can see the similarities here. You can see the similarities here. Look at the coloring. Look at the coloring here This is supposed to be more pink and then we have other paintings which appeared to be done in the Deccan and here You know again the similarity of the figures So we began to feel that this scroll was a done in the Deccan in Aurangabad where the rasmanjari was done. This is a dated Manuscript that we have which says that it was done for a Mewar chieftain in Aurangabad Now so far we had no idea that there was a school of painting in Aurangabad and When do you think of the historical circumstances that I mentioned earlier? the wars in the Mughal Wars in the Deccan which started in the 17th century circa 1600 in 1600 the Mughals had conquered Amad Naga and they had established their rule in northern Deccan and Aurangabad had become a center for Mughals and from there they Directed their troop movements. They planned their strategies, but Deccan was the place Aurangabad was the place in the Deccan from where all this Campaigns Mughal campaigns were taking place because they wanted to subjugate the Sultanates of the Deccan The wars in the Deccan went on for very long and many of the many of the commanders in the Deccan army Were Rajasani princes? We know that the kings of Bikaner were there from circa 1600 to 1685 and it was for generation of kings of Bikaner starting from We have Current Singh then his son Mohan Singh then his son Anup Singh all these people served in the armies in the Deccan Similarly, Rao Bhau Singh of Bundi was in the Deccan. He stayed there until 1681 Must have stayed there for 30 40 years and he died there and he erected many buildings in Aurangabad So the presence of the chieftains of Rajasthan in Aurangabad is very strong and since the Wars was so prolonged Many of the people Probably set up many of these Rajasani kings set up their establishments in the Deccan So in mainly in Aurangabad and you begin to feel that when they set up their Establishments, they must have brought their court there. They must have brought their courtiers Which must have consisted also of people like poets and artists who came and painted in Aurangabad so Aurangabad now in circa 1650 to 1700 becomes a strong center of painting and this the painting that happens in Aurangabad is Combines to schools Rajasthani and Deccany and later on the Mughal influence has also come in because the dispersed artists from the Mughal courts Since Aurangzeb who ruled from 1650 onwards Was not at all interested in painting those artists must have come to the Mughal center in Aurangabad and After 1680s the Deccany certainates were demolished and their painters also must have come to Aurangabad So you get this synthesis of many columns coming to Aurangabad and the painting there is Rajasthani nuanced with the Deccany elements or Deccany in feeling but many Rajasthani elements in it So this fusion occurs and it's a fusion that doesn't have a distinctive style But a varied style including all sorts of elements and really quite a delightful Idiom and quite poetic in many of its expressions Now when these kings came there They must have also some of their Artisans or some of their trades people must have accompanied them to satisfy their specific needs and These trades people this is where our interest comes in because with the Mughal campaigns You find that the movements from north to south had become Very common and the roads had opened up. It had allowed mobility of People and artists and all these people with the result that you have lots of trades people coming there and Those people started Settling down in the Deccan, but they brought their Rajasthani ways with them and then after the Mughal war is over maybe they settled in different places in the Deccan and this is where we find This is Karanjah the place where we got the scroll There are three Bhattarak seats in Karanjah one of Mool Sangha one of Kastasanga and one of Sengar so it was an important center of the Jains and the Jains who are really not landowners and therefore not attached to land Must have moved wherever they saw opportunities for trade and the Mughal encampment It is said was like a town it needed so many things that and they weren't Suppliers were needed for provisions for providing cloth for providing items of daily use and these People moved in also many of the Jains who money lenders who must have found a lot of opportunities for trade there so people from Rajasthan come there and people from Boondi Kota came and settled in Karanjah and In this place in a Mandir in this city You find the scroll was there and this explains the Rajasthani and Deccany elements in the style of the scroll and particularly the Boondi elements because the temple the congregation of the temple is Boondi from Boondi They are bugger walls of Boondi and they don't remember where they when they came there Though they do say that it must be over three or four hundred years ago And they say that they they have been very Clanish they did not even though they have naturalized and they wear Maharashtrian clothes and the food has become Maharashtrian They do not marry Maharashtrians They go back to Boondi For for getting a bride or getting a groom and then they come back. So this Community has been very Clanish and they have kept their Clanish ways and their Boondi ways and maybe that is how They must have invited an artist from our Angabad to with Boondi Affiliations to paint the scroll for them now whether it was a leader of the community or whether it was The congregation that invited these artists We do not know but we do know that there is a connection between the scroll and the paint and the Congregation of the same gun Mandir where it was found and the Boondi connection can be sort of explained as these people from Boondi coming to the Deccan for trade purposes and Probably to supply goods to the Mughal army and the Rajasthani Nobleman that were involved in the Mughal Wars So here we find something quite different and Interesting in the way the confluence of influences take place and the sort of expression that emerges out of it Thank you very much


Hi there, this is Emily. Thank you for joining me for some gentle yoga. So today's yoga will all be in a chair. So feel free to grab a chair of your choice. Just it's preferable that it doesn't have arms so that you can move your arms freely from the side. Also while you're seated in your chair, feel free to grab any props that you may need to make sure that your legs are at a 90 degree angle while you're sitting. For me, I scooch forward in my chair so that I can have a nice 90 degree angle. Feel free to add music of your choice. Also, I do want to restate, I can't say this enough, but everything that I say or suggest are suggestions and if it doesn't feel good for your body or you think it would be uncomfortable, feel free to modify or just completely skip the movement together. So the priority is just keeping your body comfortable, keeping your body safe and making sure it's beneficial. So let's get started.  And let's bring your attention into the room. Eyes are open, perhaps you notice the color of the walls, you linger on some artwork, let's bring our attention inwards. So if it feels comfortable, go ahead and close your eyes softly. Bring your attention to your body, your gentle scan on the top of your head all the way to the bottom of your toes. And if any thoughts come into your mind, just recognize them and then let them go and come back to your breath. Start with deepening the breaths, each inhale holding for about three seconds, pausing at the top and then exhaling for about three seconds, moving with whatever pace feels good for you, trying to equalize it, inhale and exhale. Inhaling, inhaling through the nose, exhale through the mouth, breathing with your own breath, whatever feels good for you.  Eyes gently flutter open with your clothes. Now let's start with a little warm-up, get into some flow, working our way into warrior pose and then we'll close each of us now.  Last one, inhaling and come together at the heart.  We're going to get started with dropping our neck and then we'll inhale, bring the chin up to one shoulder, exhale coming to middle, inhale opposite direction, exhale coming to middle. Let's do this together, inhaling through the body, trying to relax your shoulders in the center, inhale here and exhale, not in your head, yes, and keeping your gently back and forth, bringing your shoulders, well releasing your hands up there on the chair, bringing your shoulders to your ears, inhaling and exhaling through the mouth, releasing shoulders down two more times, inhaling shoulders up and down. Feel free to shake your shoulders out. So now hands can be on your lap or on the side of your chair for some hip circles. So really getting into wide circles through your body, paying attention to how everything's feeling, making sure our feet are stable on the floor and our seat is stable in the chair. Feel free to take them as little as big as you'd like. It's just really working your spine really good. You can have your hands on your lap, on your hips, on your chair, whatever feels good for you. Now let's move in the opposite direction, again as little or as big as you'd like to take it, give your hands on the chair for stability or perhaps, again to how your body feels, seeing how it feels on your spine.  So really getting into a wave through our spine. So we're going to inhale, bring our hands back, opening the shoulders, shoulders come wide, arching through the middle so belly button's coming forward and on the exhale, sliding hands forward, looking to see with our body. So inhale and rolling shoulders back and open, chin can come up, exhaling, rolling and moving with your body at your own pace. As soon as you're coming to neutral position, inhaling arms come up and down, hands coming to your lap. Now let's bring our hands forward and then we're going to inhale and exhale closing, inhale opening, shake out the wrists and let's go ahead and take some wrist circles, opposite direction, I've got some kinks in there for sure. So if you snap, crackle or pop, that's perfectly normal and just might be some air pockets in your wrists. Let's inhale, exhale, bringing our hands to our lap, this is our moving down, we're going to move into our legs and go ahead and straighten one of the legs. So heels on the ground, toes are pointing up and we're going to inhale, bringing the toes up, exhale, bringing the toes down. So just moving at your own pace, stop here, toes up, heels on the ground and we'll take some ankle circles on one side and on the opposite side and let's bring our knee back together. So I'm parallel with my other knee and we'll exhale, inhale, toe comes up, exhale, pointing toes down, heels on the floor. That one too, inhaling, bring toes up, exhaling, pointing down, toes up and exhaling, let's move into ankle circles, back to your back, inhale, exhale together, sliding your knee back to match your other knee. So be our shoulder width apart, knees are 90 degree angle and let's get into a little flow.  Now I'm going to cross my arms onto each elbow. If this feels good, we can stay here. If you'd like to take a twist, I'm going to drop one arm and gently bring my opposite shoulder up. If it feels good, we're going to raise over your shoulder on your knees here. Let's bring your hand together here. So again, opposite hand goes onto the floor, inhale, and come up. It comes up to my knee, looking slightly over my shoulder. Gaze can stay here. If it feels good, bring it over the shoulder and exhale, coming down. Let's inhale, bring your hands up and then exhale, bringing your hands to your hips or to the chair. We're going to heel-toe our feet open, bring our legs out as far as what feels comfortable for you.  Now if this feels good, go ahead and straighten one leg. Feel free to bring your body forward on your seat if you need to, and just as long as you're feeling stable. So this will be our position for Warrior II. So for Warrior II, we open up our hands, turning our body, gazing over one shoulder. Let's inhale here, bringing our hands to our heart. Face forward, exhale, extending and looking over that hand. Dropping the shoulders. I tend to hitch up when I'm dropping down. So inhale, hold it here. Now make sure that your feet are both evenly grounded into the floor that will help with your stability. Let's flow a little bit. We're inhaling, dropping my hand onto our back knee, or perhaps onto the hip or the chair, coming up, and then exhaling, coming onto our forearm.  Let's flow. Now reach your hands towards the corner of the room, checking in with your shoulders, see if you can bring some space between your ears and your shoulders. Breathing here, releasing. All right, let's bring our knees back together, heel towing them. Perhaps you want to march in place just to relax those hips. It also feels good to windshield wiper the knees back and forth, holding onto your chair. Hands can be on your hips, whichever feels good for you. Now let's go into the opposite direction. So again, bringing your seat forward if you need to, and then we'll heel, toe, our legs open to however far feels good for you, checking to see that you have a 90 degree angle here, and then let's work on our opposite leg. So perhaps we'll straighten, checking the angle, we want to see if we're at 90 degree angle, and then putting weight evenly into your feet. So again, we're going to open up, gazing over the opposite side, inhaling, coming center, inhaling, coming to center. We're going to start with another flow. So inhaling, coming back, perhaps my hand comes to my knee, to my hip, to the chair, so coming up, and then exhaling, opposite hand comes up and over, and your arm, your forearms on the knee. So let's inhale, coming back, evenly grounded, checking in with your shoulder, trying to create some space if possible.   Now let's go ahead and get stable in our chair. So if you'd like to scooch back a little bit, feel free, checking in with your legs, making sure that they're parallel, shoulder width apart, or get into a nice stretch on the side. So go ahead and making either flex the foot and fold it over, or a little stretch here. If you want to take it higher and you feel that it's beneficial for your body, feel free to put your foot on your knee. And let's inhale, ooh, finding some length in our spine, and exhale here, feeling good. If you'd like to take it a little deeper, you can inhale, finding some space, and then exhale, leaning over. Now again, this is what's beneficial for your body. So if it's too much, do what feels best for you. Each inhale, imagine lengthening, and each exhale, imagine, just deepening and relaxing a little more. Let's inhale, bringing the body up, and exhale, releasing it like down, then shield wipering the legs back and forth, just trying to relax a little bit more. Opposite side, so inhale, finding some length, flexing the opposite ankle, crossing it over the opposite foot. So perhaps this is where we stay. If you'd like to take it deeper, bring your ankle up over your knee, feel free to engage your foot. If you'd like to take it deeper, inhale, finding some length, and then exhale, bringing it over the leg. While imagining some lengthening, and exhale, deepening, a little more stretch, the foot's engaged, just inhale here, and exhale, deepening, inhale, and exhale, releasing, and let's stretch our windshield wiper back and forth, so loosen the hips. We're going to take a moment to get into Shavasana. If you'd like, feel free to come onto the floor and relax on your back. You can even put your legs up the wall if that feels good, or if you'd like, get as comfortable as possible in your chair, maybe push them back so you can sit well in your chair. Hold your eyes, as they be on your side, or on your knees. If you're on the ground, palms are open, facing the sky, feeling as comfortable as possible for you. Breathing, breathing out through the mouth.


Hi, my name is Andy Colborne. I'm the training manager here at Riedel. Welcome to the Riedel Academy to go a short video that will help you understand how to get a certain function working in your Riedel product. If you want to go a bit deeper and find out more about the technology that makes our systems work, then please do head over to the Riedel website and click on the Academy section. There we have all kinds of sessions from webinars to presentations, workshops, interactive online trainings. We also do in-person trainings. So thank you for watching this video and we really hope to see you soon. Hello and welcome to this Riedel how to video. My name is Andy Colborne and in this clip, we're going to be showing you how you would program a listen to port function. Now, sometimes when you're using an intercom, you're not in the same room as the person that you're communicating with. And so you don't always know what's happening on their end of the connection. Sometimes you want to check what's happening in their surroundings. Maybe if you try listening and it's all silent, then you'll hear that the room is empty or maybe you just simply want to check what's going out on the program feed to be sure that it's the correct audio going out when it sounds all normal. So if you want to be able to listen to an audio source in your intercom, then you're going to need the listen to port function. Now, in order to program this, we simply right click on one of the keys. Then we're going to add the function listen to port, which is the fifth one down in the list. Once we've selected that, the window pops up where you can choose the name of the source that you're going to take. So let's say, for example, the camera party line, you want to listen to all the cameramen are saying, then all you need to do is click on OK, and that's done. Whenever you press this button, you will be listening to what the cameramen are saying. Another shortcut, if you have a pure input audio connection, so in this case, the program audio, we can just drag and drop that to the panel and then it will automatically create a listen to port function, which will allow you again to listen to this port whenever you press the button. One thing you do want to pay attention to is that the key itself is latching in most cases, if you want to know about the different kinds of key modes that we can have, that will be available in another video. But as long as you have it latching, then in 90 percent of cases, you're going to be OK. Thank you very much for watching this video. We hope it has shown you exactly what you needed to know in terms of how to program a listen to port. If you have any comments, please do write them in below. And otherwise, don't forget to subscribe to make sure you don't miss the next video that we release showing you how to do stuff with Redals Artist System.


Okay, welcome back, good afternoon and before I start with or continue with the lecture just one or two things which I want to clarify. So one of our colleagues pointed out that I use V is equal to r cross omega but it should be omega cross r, so that was a typo, so please note that V bar will be omega cross r in this scenario okay, so that will change the sign okay, so that was my typo please take a note of that and also another thing is that that because my zeal because I wanted to go into the details of virtual work and how does the mechanism happen okay, so I went into on to a tangent but I realized that that may have confused some of you regarding that how do we find out what is the rotation of this and what is the corresponding displacement, so let me quickly outline the process. So what we realize is that that this crank AB is rotating in the clockwise direction, so with respect to this point A which is stationary velocity of B is nothing but omega cross r which is given in this direction the magnitude will be omega into 75. So we know what is the magnitude of this velocity, now let us look at this okay, let us look at this mechanism what is happening is that from the point of view of rod BD, we need to find out what are first of all what is this angle BD, to do that we know realize that AB sin 4T should be the same as BD sin beta, so we just put this in the equation solving this equation getting a reverse of sin beta, you will see that beta is approximately 14 degrees, now entire motion of rod BD, it is not a pure translation neither is it rotation about a point, so what do we do is that we use a very simple concept that we had discussed before that this motion you break it down into 2 parts, one is translation okay along the direction of B with a velocity B plus 6 point B okay and rotate this with an unknown angular velocity we do not know what that unknown angular velocity is okay, such that okay that the velocity at point D with respect to B will be nothing but this omega cross omega cross L or the magnitude will be L into omega BD, now the idea is that what we want to figure out okay that what are these appropriate magnitudes, now let us we know that the velocity of point D has to be in the horizontal direction, we know that this velocity also has to be in this direction because it is known to us this angle this is VAB, so this angle has to be 50 degrees, this is VD which is unknown to us, this magnitude is also unknown to us but what we know is that that this angle is 76.05 degrees why because we saw in the previous slide that beta was 14 degrees and since beta was 14 degrees this has to be 76.05 90 minus that, so this angle we know what does the relative velocity V of D with respect to B makes with respect to the horizontal is 76.05 and now we know this magnitude we know all the angles, so we can simply use sign rule we know that VD divided by this angle sum of all the angles is 180 degrees, so we know this angle should be equal to VDB divided by sign 50 this is the angle sign 50 is equal to 15705 divided by sign 76.05, so this is the velocity or this is the speed that we had obtained from the previous step, so now we know all the velocity we know the velocity here we know all the angles, so we just use simple sign rule and from that we can figure out what is V of D which will come out to be 13.08 meter per second and V of DB this will again come out to be 12396 millimeter per second but we also know that V of DB is equal to length this arm BD multiplied by omega BD, so we divide V by L and from that we can find out what is the omega for this and omega is anticlockwise and magnitude comes from this simple relation, so this discussion I think it is much more easier to discuss and as simple as that to find out what is the rotation and what is the relative sliding of what is the sliding of point D, now let us move on to this very interesting concept which is the instantaneous center of rotation in plane motion, now recall okay recall that if we have just a sphere like this a circle like this which is rotating about point O which we say is the centroid for example or this is pinned about the bottom okay point P at the bottom and there is a rotation what is the rotation the rotation is about point P which is pure rotation about P okay, now note one thing that most of the motions that we had seen especially for the ladder and also for the last crank and arm problem the crank and piston problem we saw that the motion in general is not a simple translation or a simple fixed rotation about a point but it is a combination but there is this interesting concept that we can figure out what is called as the instantaneous center of rotation and what is this instantaneous rotation center of rotation is that that the velocities okay that when the body is moving each and every point has a velocity now we had seen that when each and every point has some velocity V bar we had seen that if the rotation is a pure if the if the motion is a pure rotation then V bar is equal to omega bar okay for point A cross R bar okay well it is a rotation about point O here and this R A is nothing but a position vector of point A and we know that the velocity is omega cross R A and what is the direction the direction is perpendicular to this you look at any point the direction will be perpendicular to this the direction will be perpendicular to this now think about it if I take the velocity direction here draw a perpendicular okay let us take the case of pure rotation let us take two points here so this is the there is a pure rotation of this body about point O this is R bar A this is R bar B for point B note that because it is a pure rotation this is the velocity direction which is perpendicular to the the radius vector this is the velocity vector which is perpendicular okay to the radius vector now note one thing if I know the directions of the velocity vectors okay this is the direction of the velocity vector what happens if I draw a normal to it if I draw a normal to the velocity I will get this one line if I draw a normal to this second velocity vector of point B I will get another line and this two will intersect at point O about we the rotation was happening now we extend a similar concept that even though the body is not undergoing pure translation or pure rotation okay it is a combination of rotation and translation what we say is that that there will exist one point okay there will exist one point such that you draw a perpendicular okay that at point A suppose this is velocity you draw a perpendicular to that then this distance times omega okay is nothing but the instantaneous velocity at point A and this center C then is called as the instantaneous center of rotation similarly if I want to find out that if there is another point B here we join this C with B and ask ourselves okay that what is the instantaneous velocity or the velocity at that time for point B what do we do this is the length multiplied by omega will be the magnitude and what is the direction it will be omega cross R so this will be the corresponding direction of velocity at point B now this particular point okay which may keep shifting for example if you have a rolling cylinder okay the cylinder rolls without slip this is point A after some time the cylinder will roll point A will go here and this will be point B in this case you say that point A will be instantaneous center of rotation why because this point A is stationary okay this point A is stationary it has no velocity in any rotational motion the point about which the rotation happens is stationary so that this criteria is satisfied and you will see that if you want to find out velocity at any point you just join here multiplied by omega okay this will be the direction and this will be the magnitude so this is the instantaneous point and this point can keep shifting for example this A will go here after some time and will be replaced by B okay so this is the concept of instantaneous center of rotation now we ask ourselves that if we know some velocity patterns can we find out what is the instantaneous center of rotation now let us say for this rigid body at 2 points A and B we know that this is the velocity at A both the direction and the magnitude at point B we know the velocity both the magnitude and the direction now we say okay let us drop a perpendicular to this okay it will be a line let us drop another perpendicular from this line to other line they have to intersect if they are not parallel at point C now when they intersect at point C what we realize is that that the overall velocity at point B okay will be nothing but this distance CB multiplied by omega velocity of point A is nothing but this distance multiplied by omega in this direction or if you want to think about it it is omega cross this position vector or omega cross this position vector and this point C will be instantaneously stationary okay which means that it is as if this entire object is rotating about point C what does that mean that velocity at any point on this object is nothing but you join this call that as r cross omega is the velocity of any point and we just did a back calculation to find out what is that point so if in your rigid body if you can find out 2 points who have different directions of velocity then the instantaneous center of rotation is immediately determined without even bothering about the magnitude just draw a perpendicular just draw a perpendicular this point is the instantaneous center of rotation now a case where if those 2 points have velocity in the same direction then the way to find the instantaneous center of rotation is that draw this arrow of the magnitude draw this arrow of the magnitude draw a perpendicular line to both A and B and outside the outside tip of point A or point B just join here that will be the center of rotation what is the justification the justification is that that look at this that the magnitude okay the magnitude of the velocity is proportional to the momentum and so these 2 are similar triangles so this by this will be nothing but this length divided by this length and that is our justification in saying that this C is the instantaneous center of rotation take any other point okay take any other point and you will see that the velocity at that point will be nothing but that position vector cross the omega cross that position vector or it will be this magnitude multiplied by omega direction will be perpendicular to the line line joining it okay so that in simple words is the instantaneous center of rotation now let us look about this thing how do we figure out that if the velocity at this point A is given then what is the corresponding velocity at point B we know one thing we know that the direction of velocity at point A has to be this the direction of velocity at this point has to be vertical so we just draw a line perpendicular to this velocity draw a line perpendicular to this velocity both will intersect at point C and that will be our instantaneous center of rotation now if I ask you that at that instant when the system is in this configuration this is velocity VA okay what will be velocity VB and what will be omega the answer is really straightforward what you realize is that that because this is the instantaneous center of rotation if VA is like this the only way you can have VA in this direction at point A is that if this rod has instantaneously an anticlockwise rotation about point B how much anticlockwise rotation omega such that omega times this distance C A should be equal to V of A so then we immediately can find out if geometrically we can locate this point C then we immediately know what is the corresponding omega now similarly we go to point B we need to find out what is the velocity of point B we found out omega from this first step then what we do we recognize what is this distance BC BC will be nothing but L sin theta and what is the velocity here the velocity here is that the magnitude will be omega times BC what will be the direction look at this this is acting in the anticlockwise direction so the velocity need to have a downward direction so by finding out what is the instantaneous center of rotation okay we can immediately figure out what is the motion of any part of the body and we can immediately even figure out what is the corresponding rotation and note that rotation will remain constant okay if you take rotation about BA or C the magnitude omega will never change but what will change okay is with respect to point B if the rotation was happening with respect to point B what is the relative velocity of A with respect to B or if we model the problem like we did previously some of velocity at point A plus relative velocity of B at point B B with respect to A is the total velocity at point B okay so then in that case the rotation happens at this point and a relative velocity changes but omega always remains the same and with this instant instantaneous center of rotation concept you can easily find out okay for example even what is the velocity at the center so what do we do we just join this line draw perpendicular to that that is a direction magnitude is how much omega times that distance straight away so using this is a very useful concept and we will see how this concept can be very gainfully used for the problem we had discussed previously what we realize is what is the velocity direction of point B because link AB has pure rotation about A B has a direction which is in this direction the rotation is clockwise so B has a direction perpendicular to this here magnitude is 75 times omega what is the velocity at point D we do not know the magnitude but we know the direction the direction has to be along this then what do we do we try to locate what is the instantaneous center of rotation how do we do that to this line we draw a perpendicular let it go to this horizontal line we draw another perpendicular these two lines will intersect at point C and this C will be the instantaneous center of rotation now the question is how do we find out okay that we found out the instantaneous rotation geometrically but what are the corresponding magnitudes what is length CD what is length CB and what we recognize is that that the angle this angle beta from our previous calculation was 13.95 close to 14 and now we note one thing is this that this angle was 40 to begin with this was 13.95 so in an absolute sense this angle DBC is equal to 40 plus 13.5 53.95 look at this angle how much is this angle BDC will be nothing but 90 minus 13.95 which will be 76.05 this angle is given so now what do we know for this triangle we know this angle this angle and this angle and one side so simply use sign rule and then what we get we get what is BC we get what is CD okay but we also know that this length is given to us which is 200 this angle is given to us we immediately find out what is BC we immediately find out what is CD and then what we know that BC okay what should be the omega okay because omega times BC is the velocity of point B but we already know from previous calculation that the omega of rod AB multiplied by distance AB was the corresponding velocity so we just equate them and from that find out what is omega for this rod and once we get to omega for this rod which find simply just from this calculation what do we do CD multiplied by omega note here that if the omega here is clockwise for it to get the same velocity for instantaneous rotation of this rod BD about the instantaneous center of rotation C the velocity need to have the angular velocity needs to have a direction which is in the counter clockwise direction because if this is clockwise you will get velocity like this about this center if the velocity has to be like this okay it will be BC into a clockwise direction omega okay so we immediately see from instantaneous center of rotation that if this is clockwise this has to be anti clockwise similarly if this omega is known clockwise sorry anti clockwise then what do we see that CD times omega is the velocity in this direction at point D it will be outwards because the velocities in the angular velocities in the anti clockwise direction times CD and we are done because omega we found out from the previous calculation CD we got from the geometry we immediately could find out what is the velocity of point D so this is the concept of center of rotation and this is how we can use it.


Mike do you still train conjugate or have you switched it up and why? So when I first went to I guess when I first got into powerlifting on my own I found some books Programs and articles by Ed Cohn and started following some programs like that some older old-school guys and you know It's more block period eyes So there was just kind of a block of preparatory where you're almost not doing barbell stuff You're doing rows and lunges and dumbbell press and things like that And then I moved you into a kind of hypertrophy phase with squat bench dead Overhead some dumbbell work and then moving to kind of a strength phase with squat bench dead overhead Etc. And I made pretty good progress to start out with probably within the first Two or three years of training squatted around 400 Bench probably 305 or so and deadlift around 500 terrible form, but I did it From there I kind of did more and more research I ran some 531 which is kind of a similar type deal Although it's not block period eyes. It's a similar thought process And then I found in some of the Russian stuff some of the Boris Shaco stuff And I responded really really well to kind of the higher volume higher frequency training a little bit more specific with some slight variations sprinkled in Brought my squad up to around 505. I benched 335 315 and I deadlifted around 550 From there is when I joined super training gym and super training at the time was all geared powerlifting and they were led by Mark Bell obviously and Mark Bell Got kind of his real jump into powerlifting although he'd been doing a long time He was a follower of Louis Simmons and he was a west side barbell member himself so they did train west side conjugate and Went in Rome right so I didn't want to go in there Like I knew anything because in the spectrum. I still know nothing but Even though I kind of had a good feel of what works for me over here I wanted to learn more and I wanted to learn from the best. So that's why I went there and So I did train conjugate for maybe a year or two And what I found for me being the only raw lifter there is that I got a lot of posterior development Which was great my hamstrings glutes and low back got very strong My deadlift did increase quite a bit. I pulled 600 training under a conjugate method But my squatting and bench because of the Exercise or too broad of an exercise variation. They didn't progress as how I'd like so for west side conjugate for you guys that Don't know there's two upper body days a week two lower body days a week and basically what you're doing is On one upper body and one lower body day a week you're going up to a max effort single That means a grindy hard single and that's with an exercise variation bands chains different barbell different grip Often using a box in the squat Different boards different methods like that And then the other day a week is a little bit more of a dynamic day or it is a dynamic day It's a little bit more of that russian style where you're doing anywhere from eight to twelve Sets of one two or three reps in the squat bench or deadlift and you're using maybe 60 70 percent with some bands and chains And you're moving them very quickly working on your form and fitness And afterwards is when you get all of your hypertrophy work done You're doing tons and tons of accessories west side is based around Finding your weakness in the lift basing your exercise variation your main day lift off that and then also basing All of the rest of it So if you have a lot of tricep issues or lockout issues You're slamming tricep skull crushers and push downs for an hour after your main work And although I put on some good muscle and I made some Progress there it took me back once I started to get frustrated with my plateaus to a more high volume high frequency Training method more of a submaximal that I've been doing now for Maybe four years and previous to that that super training Block I started doing it super training. I started coaching people that method I worked with jeremy hamilton one-on-one. He prepped me for a meet using a similar method And so basically Majority of my training is now between 50 and 60 excuse me 50 and about 70 75 percent of my one rep max I'm doing a lot of Kind of daily undulating which means that within a week I'll train, you know, eight to 12 reps. I'll also train, you know, three to eight reps and also train one to three reps I'm training all rep ranges to maintain my fitness in all of them and also each rep range each load You put on your body will cause a different stimulus to that muscle and you'll be able to Perhaps gain more muscle that way because the muscles that fire under a 12 rep set is different than the muscles that fire under a heavy Or a light two reps set. I'm a big fan of compensatory acceleration This basically means Once your form is locked in and you're warmed up We're using that 50 to 75 percent range and we're putting everything into the bar even though I may be benching 315 for triples I'm going to push into 315 like it's 450 and I'm going to hit it as hard as I can And that's the same with the squat bench and dead after my form is locked in So once I'm warming my form locked in I'm not tugging on it or being jerky jerky like a football bench But I am putting everything I can into the bar and that Fires more muscles kind of helps the speed kind of helps explosion So that's the the majority of my training the majority of the training in kaizen That we program for you guys It is all based around submaximal more higher volume higher frequency a little bit more specific training There are variations thrown in, you know, I'll do a tempo squad or do a pause squad I'll do a block pull do a deficit pull I'll even use some bands and chains here and there but the majority of it is specific movements Done to accumulate volume over time done to get better at the lift and become faster and more explosive This isn't bad if there was a silent mic powerlifting federation, what would be involved? Monolith sleeves wraps tested non-tested I'm going to ignore the tested or non-tested. There's already kind of those branches. So Who really cares?  So besides that, I don't really care I don't mind walking out my weights I like the idea of a monolith just because I like how it adjusts But obviously the kind of er racks or whatever are very easy to comp the comp racks are easy to adjust as well But I think some kind of hydraulic monolith is very cool. Moving the things in and out is really cool So let's do monolith walk out Put that in your pipe and smoke it Power bar to squat with obviously there's no big boys in my federation because those poor guys can't use that bar very well Even though Ray Williams smashes with it. So no excuse to the other big boys I like the bench.  Be further be sure to follow me silo. Michael 2k is on instagram also twitter I got a facebook all the links and below if you want my programming I appreciate you guys give this thing a thumbs up share with your friends. We're out of here until next time