Good morning. Today I wanted to talk to you about how we can use augmented intelligence as a co-pilot in the operating room. My name is Dr. Zane Kelpie and I'm in Northwest Medical Center in Tucson and Arizona and I have no disclosures. The purpose of changing the way we do things in the operating room and bringing it to the 21st century has to be with absorbing the technology that we're using but also use the technology to our advantage as a form of a co-pilot to make better decisions and so I've always felt that the gestalt of our education and the experience, the 10,000 hours, that really wasn't going to be good enough. So I thought we could harness the power of the technology such as EEGs, waveforms, nearest monitoring, our ventilators and our eco-machines in cut-ex surgery to try to make better decisions and what I'm going to describe is how we've harnessed all of this and put it into our AI lab and essentially drilled down on key decisions to make it real for us to make better decisions in our operating room and really the purpose is to improve our decision-making and most of the trauma that we inflict upon patients happens in the operating room and when we try to do no harm I think we should try to predict to do no harm as a prelude for getting better outcomes and I think this will lead us to better personalised or social care and I think that's the key message that I want to talk to you about today and what I'm going to talk about really is how we built this AI powered ecosystem to make decisions very close to real time so we can influence what's going on with each patient in the operating room and that personalises our surgical care. So the things that we thought about was well what's the flow like of a patient seeing coronary artery bypass surgery and can we minimise some of the complications so for example if we use EEGs can we predict or influence or diagnose neuro-inflammation or to reduce things like post-pump center or could we use the dopplers to identify tissue resistance to look at graft patency could we use Nero's monitoring and put that all together to influence and see what happens whether you're pulsatile or non-pulsatile and does that actually influence the factors for renal failure. Of course there's labs that are available and we send that off every time in the operating room along with putting our patients on ventilators so could we use the ventilator settings in a more novel way to reduce post-operative information which the bypass circuit actually inflicts upon our patients. You know one of the other biggest tools that we have in the operating room for cardiac surgery is our echo well could we use the echo in a better way to predict heart recovery or revascularization or regional wall abnormalities and you know the other thing is that we send tissue off to our buyback which we then do metabolomics and genomics on so how about if we take these ecosystem this ecosystem and we stack all these features up and I'll show you how we do that to make a better decision for the patients and going into each one more deeply I think EEGs can actually if we look at the sequence of alpha beta theta and even gamma ray gamma waves of patients who are on bypass we can actually predict strokes not just looking at their cerebral sat because by that time it's a bit too late can we actually predict that something is happening and the waveforms are a powerful tool to help us decide that by looking at the preamble of ischemia with the waveforms but also neuro inflammation and you know could we do something in the operating room to help prevent that so that's what one of these this tool is for. The other thing that we're using is we're looking at pulsatility indices when we're looking at graphs during bypass surgery and we look at the flow we look at the the definition really of pulsatile indices can be derived to give you an idea of what what's going on with tissue resistance and tissue compliance when we you know when we you know plug in a graft into that into the irrigation system of the coronary arteries it's very heterogeneous because you can't you know you hear from the cardiologists that you've got 80 per cent stenosis well yes pi r4 but to the power of four gives you your flow and your resistance and your diameter across the the valve across the the coronary artery but truly what is the longevity going to depend on of that graft and if we're able to change that at the time of when we put the graft in or put it at a place where we feel we could have better downstream effects you know there's many times that we sometimes put our grafts on to coronary arteries that are actually clogged up and the graft fails and so that is highly irritating as a as a cardiac surgeon so we're working on using pulsatile indices to do that and how can we change the tissue resistance when we've been using tmr transmicardial laser revascularization which increases veg f which allows us to increase the um microvascular status and most of the problems that happen with people who are in heart failure or have scar or are diabetic the tissue resistance and so can we change that so we're evaluating that in the operating room and we're trying to predict the errors in which we can do this much better um with echo we're using myocardial work and this algorithm is a relationship that we have with um ge and we basically look at our echoes before and after say revascularization and we follow the concept of myocardial work using tissue Doppler and we do this in real time in the operating room so we actually know when we've been successful at revascularizing the patient because we look at the regions to look at myocardial work and we also uh calculate the regional global strain which is um really powerful because we're also looking at building heart recovery and global strain essentially determines um you know uh strain which is basically squeeze in vertical horizontal and twist um of a muscle that's squeezing and we can look at how much load there is on that muscle and that changes whether you're doing a valve uh in mitral valve surgery to change the pressures such as the left ventricular endostatic pressure or you're looking at um a revascularization for a muscle that you want to see improve and we've got uh papers submitted already which actually shows our heart recovery program on patients that are getting offloaded with uh the impeller and we use a surgical impeller the impeller 55 in the aortic position uh with open heart surgery in sick patients who have ejection fractions less than 35 for 25 percent and there are the undergoing bypassal valve surgery um and we evaluate how we wean our patients to recovery uh using this process with the impeller every single day without weaning protocol and uh the initial tool in the baseline for this is in the operating one of the interesting projects that we've also got is using near monitoring to measure cerebral oxygenation which of course everybody everybody in the OR has but what about if we slap that on to the kidneys and if we do that we're able to look at um kind of oxygen delivery and uh that oxygen delivery uh is what we calculate from the perfusion machine uh before during and after bypass but also if we change the modes we are looking at this pulsatile flow have a difference on oxygen delivery this reduce your renal failure and so what we're also doing is we're looking at urinary um i g f b binding protein 7 and tissue factor inhibitor which is an m m p 2 which essentially predicts using elysis at 0 12 24 and 7 48 and 72 hours is this patient going to get aki or cute kidney injury before they actually do and can we intervene much earlier from three hours before we even know and so we're doing this with near monitoring in the operating room uh and looking at oxygen delivery with our patients and that was a really cool project we embarked on uh to see whether manateau would actually have an effect and uh our first student from texas heart first perfusion student victor mendosa uh this is his project and what we're doing with our ai lab is we're looking at answering the question of whether manateau um actually he has an effect and uh on our kidneys or was it just a placebo or is it something that we just do it to make ourselves feels better well we actually developed a protocol what he did um uh to design that to answer that question does manateau have an effect and is it hurting us causing a cute kidney injury or helping us uh with the free radical scavenging properties of manateau as we all seem to think and this is a heat map which looks at all the different parameters that we've got uh evaluating a cute kidney injury and um we're looking at uh intra pre and postoperative um stories along with the morbidity sorry the demographics of the patient and we we look at positive and negative coronary factors which bear relevance significant and so um um we i'm not going to take his thunder away but the key message that um we found is that what we give in terms of net volume um and crystalloids as well as ejection fraction all have significance uh in whether or not we give manateau uh in his study of uh before and after bypass as we come off the cross clamp or just as a cardioplegia in the cardioplegia solution and are we making an effect so we looked at two different doses and we found that there were mitigating factors which were positively and negatively correlated and the nearest monitoring actually did help us um decide and uncovered a lot of what we found to be true and I know that the purpose of me discussing this is not to take his thunder away but is to show you how complex um our relationships can be and what augmented intelligence or artificial intelligence unravels uh is the complexity of the relationship uh which is hidden and can have significance for example knowing what the pre-hydration statuses of a patient um has a positive relevance we all know that cross clamp does as well which is there but the ultra-filtrate volume as well as sodium levels are also important along with bypass times and that coupled with other things that we do uh you know when you're on a bypass circuit uh we often have uh uh inflicted as I said earlier a lot of information that information is um can be quite damaging same patients who are already pro-inflammatory such as heart failure patients so we devised a way to induce a form of um uh vagal stimulation which would allow while we're on bypass to keep the ventilator going uh but at a much reduced rate and a ratio that is akin to meditation while you're sleeping while you're on the bypass machine and um there's many studies that show that heart rate variability actually increases and there are many studies that actually show that there's a link between heart rate variability and inflammation and so what we decided was well can we quantify this and we're looking at IL-6 and inflammatory markers pre and post surgery uh but we uh and pre and post bypass specifically and people have been ventilated not ventilated and what we have found is also interesting in that our HRV does increase uh which is heart rate variability and we calculate that with various different waveforms not just the EKG um but looking at different ratios with high frequency and low frequency ratios but we also found that the burden of inflammation is much reduced in these patients and that's unpublished right now um you know as we also look at uh our relationship with people like at the Broad Institute um very good guy called Penit who we are looking at uh giving tissue uh from our Biobank from each patient we are trying to look at the genomics but genomics for me is also a little bit too slow so uh you know why would I in it's great that I can influence something that'll change the left ventricular mass in a year's time after I've done a valve and we all know this lb mass regression when we do a ordered valve replacements or mitral valve repairs but um how about if I try to use the tissue to try to get uh data that's much more important such as proteomics and genomics and I'm sorry metabolomics so we're looking at specific pathways particularly in mitochondrial protection um which when we give cardioplegia would allow us to change the real-time status of ATP in a heart that stopped or is beating um and we're using that data to actually make better decisions well it's great we've gone through all of these things but how can we actually tie this together well we're actually um streaming this data from the OR picture that I showed you at the beginning of the case uh beginning of the presentation to uh show that we've got these waveforms but also these static demographics which go through the electronic health record through hl7 feeds into our ai lab and where we've got a data warehouse and in that data warehouse we're using a lot of analytical tools we've got relationships with data robot and with google and it's on that platform uh and amazon web surface so we've it's all under hipper firewalls and um we are trying to develop predictive risk scores predictive scores for stroke predictive scores for um morbidity and mortality because frankly speaking there's sts risk score which you see in every h&p before surgery of a patient is frankly crap it's predictive at all it doesn't tell you anything um and it vaguely simulates a story of risk which is not truly accurate and I feel uncomfortable telling my patients that they've got a 1.4 percent chance of um mortality and which is frankly not true and so it um kind of emboldened us to try to do something a little different which is what led to this whole idea and this project um with trying to then make real-time decisions in the operating room and this just summarizes kind of the story of what we've got from our operating room and by the way we've got similar formulae in the ICU and in our step-down unit um with all these monitors that we're working with neon coden and it streams to the lab so we've got petabytes of data from our electronic health records with medications our op reports our lab results the nephro checks I talked about earlier um device data from our monitors our perfusion system um is feeding into our G9 monitors in the operating room where we can see the positive flow and so now we're doing time series analysis and we're using our waveforms from our EKGs, EEGs and our ventilators and we're looking at data from our echoes and also pre-operatively from our CT scans and our ultrasounds and our angiograms and so this gets fed into our data lake and where there's a lot of unstructured data and as we do that in our cloud in the lab we drill down on projects say for example looking at graph papency we're looking at creating a data mark where we develop our algorithms for positivity index and we then say okay well how can we stack all of this information um that we've got of this one patient in from multiple modes into a neural network and we're using various algorithms such as uh picarat various uh neural networks which uses static and dynamic data and we're then able to personalize a predictive score and this video which is four minutes long summarizes the future of what we're doing so i thought i'd show it to you to end the presentation before i ask for any questions as we stand here at the dawn of the fourth industrial revolution the potential of ai is evident but the value is yet to be unlocked for so many people like you seekers solvers with unrivaled expertise in your field you're driven by curiosity but where do you start the race is on to bring the power of machine intelligence to as many innovators as possible our unique machine brain was purpose built for continuous learning by 600 of the best and brightest data scientists and engineers all united behind the idea that ai won't reach its true potential until the power of ai is available to all so how do we do it begins with pattern recognition in a learning session rapidly accelerating your model and blueprint development through our chaplain challenger approach that ranks your models to help you find the best insights for your desired outcomes but models are fueled by data and to put it simply data's experience your organization's experience this needs to be transformed rapidly into actionable insights while remaining secure and within your control of all times regardless of where your data is data robot is able to help you harness that knowledge on the prem or in the cloud structured or unstructured text numeric geospatial visual and normal but unlocking transformational growth isn't possible till you can scale models into production with confidence enabling continuous learning and real-time improvement as a result your learning session gets smarter over time but as the data robot learning core evolves those learnings are shared with all of the sessions increasing the collective knowledge of the entire machine and what does it look like when all of these sessions are running in real time let's take a look in an effort to inspire our r&d product customers and partners we created a real time 3d visualization of our data robot machine break visualizing data helps humans process and make decisions more confidently visualizing in three dimensions over time unlocks even greater ways to explain insights and drive action and seeing the entire dynamic system in concert shines a light on the real-time potential of the human and machine intelligence revolution it can be a bit overwhelming at the scale but data robot handles all this complexity so you don't have to freeing up human resources to focus on the most challenging and interesting problems while enabling better trusted critical decisions empowering citizen data scientists to be the human heroes of the machine intelligence revolution being the impact of ai out of the box and into our lives helping regular people through revolutionary advances in health finance climate government and so much more they are the human heart beating within our machine there is nothing artificial about the problems of the real world so should we settle for just artificial intelligence would you trust your doctor if you practice artificial medicine would you trust me to perform surgery on your heart if the experience ahead is artificial well i'm not a voiceover artist i'm a heart surgeon today when i make decisions on my patients i use their lab data their images and their waveform data but this is too slow tomorrow we as physicians need to make better faster human decisions decisions we can trust but we can do this by leveraging the power of augmented intelligence and if we do so then we would be able to predict medical interventions and deploy preventative strategies in healthcare you know the impact of this on human lives if we get this right we'll be immeasurable i'm excited to work with data robot because together we're able to make augmented medical decision making this is a new formula which will be the future of healthcare driven by ai i'm dr zane calpy and i'm a citizen data scientist this relationship is important because um i think industry drives the future of healthcare and we've got to embrace it because i'm happy to announce that we we are also um of the first partner in a health incubator with data robot where we're able to push forward the new way of thinking and i hope this presentation opens your mind to new ideas that we do and for things that we do every day so with that i'm very happy to take questions thank you very much


I am Dr. Kesho Valase from Walchand Institute of Technology, Swalapur. In this session, we will be discussing about two-dimensional homogeneous coordinate transformations. Talking about the learning outcomes, at the end of this session, viewers are expected to understand explanation on different types of two-dimensional geometric transformations more particularly about translation scaling and rotation and that to in homogeneous coordinate systems. Secondly, viewers are expected to solve the problems on same again two-dimensional geometric transformations with homogeneous coordinates. Let us revise few basic things on 2D geometric transformations which are covered in earlier videos. Geometric transformations are nothing but modifying the current position of the given object with respect to its shape, size, position or orientation. And how do we represent points and lines? You see basically in geometric transformations, we need graphical features to be represented in matrix form. I repeat again, graphics features we represent in matrix form. Thus, if we talk of a point, a point we perceive as 1 by 2 matrix. In geometric transformations, talking about again a line, line is perceived as 2 by 2 matrix. A line passes through two points, so x 1, y 1 and x 2, y 2. The combination of these two points in matrix form is what we perceive a line to be in geometric transformations. This particular fundamental aspect gives us the liberty to handle the data very comfortably using geometric transformations. One more important conceptual thing here is geometric transformations are fundamentally carried out on points and these points are those points which represent the object. So, in geometric transformations what we are doing is we are transforming the points and at those points again new points, new positions of the points to say it specifically we again redraw the object using its algorithm. Again this is a revision of three basic types of geometric transformations, very briefly if we talk translation, we have a P dash and new point will be equal to its original point plus procession matrix. Here in the point to be noted is we are adding two matrices in translation operation. In scaling we multiply to given point position P its scaling matrix and we get the new scaled position of the point, point to note here is we are multiplying it here. In scaling we multiply, thirdly rotation we rotate the object about origin by an angle theta. So here P original point is multiplied with rotation matrix here again we are multiplying to get the new point its coordinates. So to compile in a translation we are adding the matrix, in scaling and rotation we are multiplying the matrices, concatenation is by and large the need we have in geometric transformations wherein with any given single transformation many times we may not get the desired orientation of the object. Hence we need multiple transformations to reorient the given graphics object. So carrying out such multiple transformations at a time is normally referred as a concatenation it is nothing but more than one transformation to be carried out so as to have the orientation of the object the way designer wants. At this point I would expect the viewers to please recollect the basics of two dimensional geometric transformations and even concatenation that is the requirement of more than one transformation and try to relate these concepts to any application area any object you can think of. Now to summarize towards developing an algorithm translation matrix we are adding rotational scaling we are multiplying with this if we try to have some common way of representing these transformations as an algorithm form we may use this P dash is equal to m 1 into P plus m 2 wherein this P dash is the transformed state of a matrix this P is the original matrix and m 1 is the matrix for rotation and scaling which is used for multiplication and m 2 is the matrix used for translation which is added. So this kind of an algorithm we can use to achieve these three types of transformations eventually we are thinking but these types of operations are not efficient and they are little tedious taking more time in execution and we need many times these types of operations to be carried out wherein the processing time probably would be little more hence to have efficient and effective execution we need to have some modifications. Now these modifications are provided by way of what is called as the concept of homogeneous coordinate transformations. Now here this particular homogeneous coordinate transformation if we take in case of two dimensional things we augment that 2 by 2 matrix 2 3 by 3 for any kind of translation rotation and scaling kinds of geometric transformations required. We will see how one by one firstly let us talk of translation. In translation now with the new homogeneous coordinate transformation type of algorithm if we are using as I said for two dimensional things we augment a matrix by adding one more row or column as per the requirements. So here P dash is represented as x dash y dash and 1. So this 1 is an augmentation to suit to the algorithm of homogeneous coordinate transformations which is then given as equal to P P into this T this P is x y and 1 again. Remember we are talking on two dimensional aspects two dimensional objects two dimensional entities graphics features here we are adding third parameter here and this is the translation matrix which by virtue of this homogeneous coordinate transformation comes up in case of 2 D translation I repeat in case of 2 D translation this matrix happens to be of 3 by 3 which is not so in earlier case without these kind of homogeneous coordinate systems. So here T x and T y they represent the translational distances along two coordinates systems that is x and y. Secondly talking about scaling P dash new coordinates will be equal to P into SV multiply again here and in this case the scaling matrix S would be given by S x and S y put diagonally this way and 1 as a new augmented part of this matrix scaling matrix. So this together will give us in homogeneous coordinate systems the scaling operation where in S x and S y represent the scaling factors along x and y axis we are talking 2 D but here due to augmentation we have third parameter added in the matrix. Third about rotation again same P dash is equal to P into R and here P dash is as usual indicated here P as routinely put up here and R the rotation matrix would come up something like this wherein again third row and third column is a part of augmentation towards new algorithm thus multiplication of this would give us rotation of a point for new point P dash. These are the 2 common references of the books one is CADCAM by MP Grover and second is CADCAM Mastering by Ibrahim Zaid. Thank you.


good morning and welcome you all to this session of the course. Today we will be discussing the axial flow compressor last class we have more or less completed a brief discussion on the centrifugal compressors now we will be discussing the axial flow compressor. The basic principle is mostly the same as that of a centrifugal compressor what is the basic principle that by absorbing the mechanical energy from outside the working fluid which is usually here gains its static pressure that is the basic purpose of a compressor whether it is centrifugal or axial flow compressor. An axial flow compressor like a centrifugal compressor also consists of a rotor and a stator rotor is the rotating part of the compressor where the mechanical energy is being supplied and it consists of a number of blades which rotates and the mechanical energy is supplied in the form of an external torque under which there is a rotational motion of the rotating blades that the blades which rotate and the air acquires the energy and ultimately what happens its velocity and static pressure is increased and the stator part of the compressor which is known as diffuser the function of which is that here we gain the static pressure from the velocity of the air by allowing the air to have a dislarating flow in this passage this known as diffusion process the diffusion takes place where we get more static pressure by virtue of the or at the expense of kinetic energy and finally at the outlet we get air at high pressure but at low velocity so the basic principle is same but the major difference between the axial and the centrifugal compressor is that the flow takes place in the axial direction whereas in a centrifugal compressor you have seen the flow takes place in the radially outward direction so the inlet and outlet of the flow varies in the radial location and varies in the peripheral speed of the rotor but here what happens the flow takes place in the axial direction so therefore the inlet and outlet of the flow takes place at a particular radial location and all such radial locations the flow inlet is there and flow outlet is there that will be explained when I will explain through the diagram. So, the major difference is the entire flow takes place in an axial direction and there are different number of stages each stage consist of a rotor blade or the rotor and a stator consisting of stator blades and this way a stage is considered that a rotor and a stator and number of stages are there. This is the overall structure of an axial flow compressor that differs from a centrifugal flow compressor which is a radially outward flow type it is an axial flow type through number of stages. At the same time you should know that this axial flow compressor the advantage over centrifugal compressor is that it can handle a large amount of air the flow rate is more as compared to the centrifugal compression it can run more efficiently with high flow. So, therefore, where the high flow is required the axial compressor is more axial compressor is important high flow and also the weight is low. Now, let me explain the overall structure of an axial flow compressor you see that this is an axial flow compressor axial flow compressor axial flow compressor. Now, you see an axial flow compressor how does it look here there are two types of axial flow compressor one is the drum type this is the drum type I tell you drum type what is the difference I tell you this is the disc type. Now, basic structure consist like that there is either a drum rotating drum this is the shaft or a disc on which this rotor blades are being mounted this is the rotor blades and this rotor blades this is the drum type is mounted on the rotating drum and with the rotation of the drum or disc in a disc type this is the rotor blades this is the rotor blades. So, rotor blades rotate so these rotor blades and number of blades are there along the periphery of the drum. So, at any axial location you see there are number of blades if you see this view front view you see one blade there are number of blades in the periphery which are being attached to either drum or disc known as disc type and there is a stationary casing this is the stationary casing I write this is the stationary casing this is stationary casing here also this is stationary casing stationary casing and this stator blades are screwed or attached to this stationary casing these are the stator blades and one rotor and one stator one rotor and one stator comprises one stage. So, here also the stator blades are fixed to the casing and there is a inlet row of guide van upstream of the first rotor this is actually not this is stator this is also a stator static part attached to that and these are known as inlet guide vanes which first direct the air properly in the axial direction. So, this is the flow direction this is the air flow like that flow direction. So, this is the flow direction and this is the direction of the axis axis this is the direction of the axis the flow takes place in the axial direction first it comes to the inlet guide vanes then through rotor and stator then rotor and stator a number of rotor blades number of stator blades and number of rotor blades number of stator blades and a combination of rotor and stator comprises the stage this is an overall view of the axial flow compressor the air enters in this way the air enters in this way. So, therefore, air flows through this annulus area formed by the blade passages. So, this is an overall diagram of an axial flow compressor air goes out. So, axial flow compressors there are other things that I will tell you that while designing this annulus area it is made a convergent type that means the annulus area goes on decreasing in the direction of the flow why this is because you know from continuity mass flow rate is written as mass flow rate can be written as rho times the flow area times the velocity of flow v f and this we consider an average flow velocity over a cross section and this is the annulus area the cross section the area provided to the flow and this is the average density at that section. Now, as the flow takes place here by the action of the rotor and stator the pressure increases this is the increasing direction of the pressure. So, density increases so for a given mass flow rate because at steady state from continuity the mass flow rate will be same throughout the machine. So, if we want to make the axial flow velocity constant we have to decrease the cross sectional area and the main motto is to make the axial flow velocity constant despite the increase of rho for which we have to decrease the annulus flow area same for drum type or a disc type this is one of the major considerations in the geometrical design of the compressors the blade height and other things are will come afterwards, but this is one of the main considerations.  Now, if you see the number of vanes now before that we consider now if you see the from the top view then you will see a particular rho is like this including the guide vanes it looks like this you see when you look from the top over the periphery then you will see that this is the direction that is these are the rotor this is the rotor vane this is the diffuser and this is the inlet guide vanes rather I think you can see this way this will be the way actually yes. So, therefore, these are the number of blades that you can see or better you see this way no this way it is better. So, that this goes from this in this direction why they have made a flow direction like that I do not understand this direction will be here I think the flow this is a peripheral direction the number of blades are there. So, this will go like this and will come like this I think this is the direction not this is the direction. So, the flow takes place like that there are inlet guide vanes which directs the flow in such a way ultimately it goes through the rotor series of rotor blades and the diffuser this is the diffuser where the velocity is decelerated and the pressure is increased if you see this diagram you see that pressure in the inlet guide vanes decreases slightly because of the skin friction because the inlet vanes there is no energy interactions this is the static vane. So, pressure lot takes place because of the friction then in the rotor the energy interaction takes place it moves. So, therefore, rotor imparts mechanical energy to the fluid by virtue of which its pressure its velocity and similarly if you seeing the velocity velocity should remain almost constant, but this inlet guide vanes cross sectional area is slightly converging type. So, that the velocity slightly increases. So, this is the velocity part I just do it by rate velocity then what happens by virtue of this mechanical energy given to it the both velocity and pressure increases this is the increase in the velocity this is an increase in the velocity in the rotor because it gains energy there and this is the increase in the pressure and this is the static pressure the increase in static pressure takes place because there is an divergence in the area this flow passage area is made in such a way there is an increase in the static pressure while it flows through that this is being reflected or manifested by a change in the relative velocity that I will tell after what then it comes to a series of stator blades known as diffuser what happens in the diffuser we get a rise in pressure that is known as typical diffusion process in respect to this deceleration of flow that means the flow velocity is reduced. So, this is a typical pressure velocity diagram this is the pressure this is the velocity diagram while flowing through the rotor and diffuser blades and upstream this we consider the first row of rotor blade so that upstream of that there are inlet guide vanes now if you consider you come to again this diagram that flow takes place at all radial locations now if we consider the flow velocity v f is uniform over all radial locations and if we consider the flow at any mean height that means at a mean height of the blade at a mean radius from the centre here the flow is basically two dimensional the flow has got an axial component and a tangential component the radial component is relatively less. So, if the radial component is less we can consider the two components of flow mainly in the axial another is tangential which is perpendicular to this plane of the figure and at the same time if you consider the v f at any cross section along the blade height at different radial location if you measure from the centre line is constant that means the uniform velocity distribution which is also constant in the axial direction for which the annulus area is reduced that is different, but radially if we consider it is uniform and two component of velocity then it is almost a two dimensional flow this is a two dimensional representation of a three dimensional flow. So, with this representation now you can have a look of the velocity triangle now if you see that the same thing that we already shown that the a blade passage formed by the rotor and the stator you see this rotor and the stator that means this part if we draw like this that means if we see from the top a this side no oh sorry sorry now it is now it if we see from the top the two rotors earlier things were visible no. So, two rotor blades and two stator blades just a representative figure I show you this is what a representative blade passage found by two rotor blades and two stator blades of a stage now this is a stage this is a stage this is a stage now what happens the stage at the inlet to the stage the air comes with some velocity v 1 with an angle alpha 1 which is nothing but the velocity coming out of the stator of the previous stage with some angle alpha 1 and this angle is made in the axial direction this is the axial direction you understand this is the axial direction. So, this is the well axial direction this is the axial direction axial direction axial direction now what happens the rotor blade shape is like that and if you see the velocity triangle you see the velocity triangle is that here we can write that v r 1 is the relative velocity as you know that is v 1 minus oh not visible that is the problem with this that they have not this is not actually made in this proper ray v r 1 is v 1 minus u. Now, another difference is this from the centrifugal compressor here the if you see this again that the flow takes place axially if we this diagram is drawn at a section taken at the mean radius mean height of the blade. So, therefore, here what happens the inlet and outlet takes place at the same radius we can take it at different radial locations. So, therefore, when we see the picture from the top we see that the inlet and outlet of the air flow takes place at a given radius. So, the peripheral speed of the rotor is same depending upon the radius at that point. So, therefore, u remains the same you see the inlet velocity triangle is like that this is the absolute velocity with which the air strikes the rotor blade with an angle alpha 1 with the axial direction.  And this velocity because of smooth flow without incident loss this beta 1 should glide that means should match the angle of the blade at the inlet and this is the beta 1. So, beta 1 is the relative velocity angle which is the angle of the blade at the inlet.  So, this is the flow velocity v f 1. So, at the inlet now at the outlet if you see the velocity diagram this is the relative velocity v r 2 this is v 2 this is the same u and this is v w 2 this is alpha 2 and beta 2. Now, beta 2 is less than beta 1 this beta 2 is less than beta 1 fluid is directed more towards axial direction this happens because of the camber of the blade in a way that the annulus area increases the annulus area that means this area sorry increases sorry decreases no sorry annulus area increases because of this increase in the velocity v r 2.  So, this area has to be more. So, make the annulus area more the camber of the blade has to be such that beta 2 is less than beta 1 these are the important considerations of this velocity triangle.  So, stator blade does not move. So, there is no velocity triangle simply the velocity direction is changed as far as the camber of the stator blade or the curvature of the stator blade. Here also the stator blade velocity is change in such a way that alpha 3 is reduced from alpha 2 it is directed more towards axial direction and the design is made such a way that alpha 3 becomes again equals to alpha 1. So, that it can smoothly glide or enter to the rotor blade of the next stage. So, we make this alpha 3 is equal to alpha 1 these are the important considerations. So, this way you can draw the velocity triangle at inlet and the velocity triangle at outlet of the rotor blades and this is the velocity how does it change in the stator blade. Now, we can write certain formula from this, but problem is that this cannot be shown here at the same diagram. Let me adjust it if you can see that thing this is the state. Now, if you can say if you can see now oh this blades you may not you may discard. So, that you can go little here.     Now, if you make this two equal then we can write tan alpha 1 plus tan beta 1 is equal to tan alpha 2 plus tan alpha 2 plus tan alpha 2 plus tan alpha 2 plus tan alpha 2 tan beta 2 that we can write or we can write tan alpha 1 minus tan alpha 2 is equal to tan beta 2 minus tan beta 1 this is one very important relationship this two this relationship and this is a geometrical relationship this two relationship we can get from the two velocity triangles. Now, if we come to the work here itself I can write now work if you write here now work per unit mass w by m work per unit mass is nothing, but what is work per unit mass we know from the Euler's equation that v w 2 u 2 that is v w 1 u 1 all right here u 2 is u 1 and that is equal to u.   So, if you follow this velocity triangle then you can write this is equal to u v f into v w 2 that is tan alpha 2 will come first minus tan alpha 1 again from the equality as I have done already that tan alpha 2 minus tan alpha 1 is tan beta 1 minus beta 2.  So, therefore, tan beta 1 minus tan beta 2 tan although this is the work done per unit mass sorry or energy added per unit mass whatever way you can write it is your concept energy added. Now, if you consider that the change in the stagnation temperature which we called is the total temperature I give the nomenclature delta t s that means change in the stagnation temperature of the compressor total change in that c p is the total energy added to the air on the working fluid per unit mass that will equate this one v f tan alpha 2 minus tan alpha 1 I can write tan beta 1 minus beta 2 tan r does not matter either of this two I can write that two are equal. So, therefore, the increase in this stagnation temperature is given by this formula which is very important that increase in the tan alpha 2 minus tan alpha 1 divided by c p. Now, what happens is that the actual stagnation temperature rise is less than this and this is taken care of by a coefficient lambda by a coefficient lambda first of all let me write that which is less than lambda this is lambda less than 1 lambda less than 1 by this coefficient lambda which is known as the work done factor this is the lambda which is known as the work done factor lambda is work done factor work done factor now this is mathematical what is the physical meaning of that and this lambda equation that means that the theoretically the energy per unit mass or work done per unit mass which is calculated is not actually imparted to the liquid sorry to the fluid to the air here a less amount is being imparted because of this lambda factor which is less than 1 which is known as work done factor this is because of the fact that we assumed at the beginning this axial flow is uniform over the entire blade height this is not so and that creates a problem now let us see that thing that if we consider the this way if we consider the axial velocity axial velocity axial velocity axial velocity that is v f and if we consider this is the radial direction this is the radial direction r and if we consider these as the blade height rotor blade height this is the this is the blade height this is the height of rotor height of rotor blade. Let us consider the first stage. Now, according to our two dimensional assumptions, we have considered that this is the dotted line I am showing. This is the axial velocity distribution. This is the axial velocity distribution over the blade height. This is the blade height. Here, I cannot write because the space is not there. So, here it could have written the ordinate is height of the, that is the radial direction and this is the height of the rotor blade. I just make a hatch like that for your understanding. So, uniform distribution, but what happens in practice because of the three dimensional effect, the velocity distribution is not uniform. The flow velocity distribution, this is the axial flow velocity Vf. So, distribution becomes like this. Some peak key at this centre and then again it reduces. So, this becomes the distribution of the axial velocity. Actual distribution becomes like that instead of this uniform one. If you go to further stage, for example, a fourth stage, number of stages are there or fifth stage. Some blade height also will change. As you go on that, there is a decrease in the area. However, I show you with the same height fourth stage for your understanding. So, if this is the Vf, this is the blade height, the same diagram, but it looks like that this is the uniform one, the axial velocity.  But because of this distribution not being uniform, what happens? The work done per unit mass is changed which is taken care of by the lambda. Now, after this I will show you that you can have some idea that if I express the work done per unit mass W by Vf. Now, W per unit mass is now we can write W per unit mass as U Vf into tan beta 1 minus as I have done earlier tan beta 2. This I can write. Now, we know that tan alpha 1 plus tan alpha 2 is tan beta 1 plus tan beta 2 that we know or we can replace tan beta 1. Another result I know that what is this?  Now, I can replace tan beta 1 in terms of tan alpha 1 and can get this expression U into now Vf.  This is the way I can write. Why you will understand now?  Now, this tan alpha 1 and tan beta 2 this alpha 1 and beta 2 this is fixed. This is the outlet angle of the rotor blades and this is the alpha 1 that means this is the outlet angle of the stator blades or the angle of the absolute velocity at the inlet of the that is the inlet of the rotor blade. So, if these are fixed then it is seen that for a given peripheral speed at any height the work done per unit mass depends upon Vf. So, when there is a reduction in the flow velocity work done per unit mass is increased when there is an increase in flow velocity it is decreased. So, therefore, with this if you compare this you will see that it changes with the radial locations. Here in this radial locations here the work done per unit mass is decreased while the work done per unit mass is increased because of a reduction in Vf near the tip and the root. But the overall effect of this reduction of the work done per unit mass at all radial locations where it is more than the axial velocity because we have made the calculation based on the uniform axial velocity is counter ways the gain at the root and the tip because of the reduction in flow velocity Vf by this formula. So, what happens finally the work done per unit mass based on the uniform flow velocity is being reduced by a factor known as work done factor clear. Now, this work done factor ultimately decreases with increasing number of stages this work done factor a typical graph is like that usually this value lies from 1.8 to 1 and with number of stages number of stages let I start with stages 2, 4, a 6, 8, 10, 12 like this the work done factor goes like that this for your idea this is the work done factor lambda. So, more number of stages lambda is less and less number of stages lambda is high. Now, we come to the pressure rise pressure rise is very simple again in this page itself I will do now if we consider the two pressures just like we did earlier that p 3 t and p 1 t if we consider three at our this thing then what happens that this is our sorry this is dotted this should be this is our isentropic one this is our actual one that means if this is t 1 t this is t 3 t dash and this is t 3 t. So, our delta t s t is t 3 t minus t 1 t, but our pressure rise p 3 t by p 1 t which usually we write here is the r s here s suffix is given per stage per stage the pressure rise is the pressure ratio is p 3 t not rise is p 1 t that is related to this t 3 t dash by t 1 t to the power gamma by gamma minus 1 and again we know that again we know that eta c we know that the isentropic efficiency again it is stage efficiency which is defined as t 3 t dash minus same thing I am repeating again and again t 3 t minus t 1 t which gives that t 3 t dash by t 1 t from here is 1 plus eta s into t 3 t minus t 1 t divided by t 1 t. So, therefore, we have to place it here so that we get r s is equal to same expression 1 plus eta s and this is defined as delta t s t so that it is expressed in term of this in terms of this thing t 1 t to the power gamma by gamma minus 1. Now, with this I tell you the overall principle of action of a stage of an axial flow compression what happens in the rotor and the stator now we come to a thing which is known as degree of reaction which is very important degree of reaction what is mean by degree of reaction now try to understand one thing again I will repeat the thing which I told you earlier in the fluid machines class when I discuss the hydraulic machines the machines using water now one has to understand that any fluid machines has a rotor and stator whether it is a turbine or it is a compressor or pump. So, the basic purpose of the stator or the diffuser in a pump on compressor is to change the velocity to static pressure, but the question comes whether in a rotor the static pressure will change or not first of all try to understand in terms of pressure static pressure will change or not. So, static pressure will change in the rotor depending upon the rotor construction if it is a radial flow machines machine type rather I will tell machine type there is a radial flow machine automatically the pressure changes because of the centrifugal action of the centrifugal head that is the centrifugal force when the radial location changes the peripheral speed is changing. So, therefore this is manifested in terms of the increase in a static pressure I explained so many times that a radial pressure grade is imposed when the fluid has a tangential velocity and it changes its radial location, but in an axial flow machines when there is no change in the tangential flow from inlet to outlet not necessarily there will be a change in the static pressure the change in the static pressure will depend upon the rotor design and construction. That means if we have to change the flow area if you change the velocity relative to the rotor inflow course of flow to the rotor passage then only there will be a change in the static pressure and that is the measure of reaction in a reaction turbine that whether there is a change in the static pressure in the rotor itself or not. For example, in impulse turbine if you remember a water turbine that pelton turbine the water jet is striking the rotor that is the pelton wheel at atmospheric pressure throughout pressure is same there is no change in the pressure this is known as impulse turbine whereas in Francis turbine when it goes through the runner blade there is a change in the pressure similar in the centrifugal pump always there will be a change in pressure in the impeller this is because of the radial flow in a rotating or tangential flow field similar is the case of centrifugal compressor, but in axial compressor the question comes whether the flow passage changes in course of flow through the rotor so that the relative velocity changes or not. I told you that if the relative velocity changes in a sense that if vr2 is less than vr1 then we can consider that there is we think that there is a change in the static pressure and when there is a change in the static pressure there will be a change in the static temperature also. So, therefore whether there is a change in the static pressure or not that will call the machine is reaction type or not usually there is a change in static pressure and the static temperature while flowing through the rotor vr2 is made less than vr1 and therefore the question of reaction comes and the degree of reaction in this context is defined as this way the in terms of enthalpy it is defined the change in enthalpy let us consider per unit mass in the rotor divided by the change in the stage delta h rotor plus delta h stator this is known as delta h stage. Since the enthalpy change for an ideal gas is equal to the cp into change in the temperature and since cp is constant here we are considering the ideal gas it is independent of the temperature we can cancel it out and reality also the cp does not vary much with the range of temperature this can be written in terms of delta t the static temperature change in the rotor divided by static temperature change in the stage that means in rotor plus delta stator now this is the degree of reaction when there is no change in static temperature or static pressure degree of reaction is 0. So, degree of reaction is 0 for a reaction machine there will be always a degree of reaction since delta t rotor has got a value more than 0. So, this is the measure of the extent by which the total the fraction by which the total change that is total change in the static temperature of the stage is taking place to the rotor now with this definition let us now see the how we can find out an expression for this now let us consider now again the definition since we give this s for stage and a rotor and stator this things we will not write. So, simply we tell that a stands for stator for our convenience and b stands for rotor and we write this definition as delta t this is a for example you write sorry this you write rotor this will be better and this you write stator then you write delta a delta t a plus delta t b now you see that work done per unit mass is nothing, but c p into delta t stagnation. Now, if we make v 1 is v 3 now you see this diagram we told that alpha 3 is alpha 1, but in our design it v 3 is made v 1 now see that it approaches with some v 1 from the earlier stage then while it passes through the rotor it gains energy and is v is increased v 2 is greater than v 1 then this v 2 is again by the diffusion process that means this is decelerated to get a rise in static pressure is that means v 3 is less than v 2 is less than that and it is also displaced more towards axial direction this deceleration is made in such a way v 3 comes back again to the original v 1 if we make a design like that that the absolute velocity at the discharge of the or at the outlet of one stage becomes equal to that of its inlet velocity at this stage you understand. So, that we can write v 3 is v 1 in that case we can write delta that means what is t total t stagnation temperature at 3 for example t 3 t now I write the total temperature t here you see then t 1 t t 1 t is t 1 static plus v 1 square by 2 c p similarly here you see t 3 t the total temperature is t 3 plus v 3 square by 2 c p. So, if v 1 is v 3 that means the dynamic equivalent temperature that means the velocity equivalent temperature are same that means the difference in the total or stagnation temperature is difference in their static temperature. So, that delta t s t that is the stagnation temperature is delta t static and here s is written that is per stage that means delta t stage that means this is delta t stage that is static temperature per stage is equal to the stagnation temperature that means this can be written as delta t s and this is nothing but the work done formula that means if you remember that this what is this formula u v f into tan alpha 2 minus tan alpha 1. So, therefore c p delta t s is given by this correct bracket is there there will be a bracket now this is correct now how to find out this for delta t a so therefore now I find out the value for delta t a now rotor the energy is actually given in the rotor. So, w by m is written in terms of the total one that means u v f again I am writing tan alpha 2 minus for your convenience tan alpha 1 and this becomes is equal to c p delta t s static temperature rise per stage because the static temperature rise equal to the stagnation temperature now if I write this w by m that is u v f into tan alpha 2 minus tan alpha 1 in terms of the static temperature change of the stator I am not permitted because stator static temperature so entire energy use not to increase static temperature but at the same time to increase its velocity v 2 square by v 1 square. So, an energy balance in the rotor gives that rotor energy takes and the air static temperature is increased this is the energy change due to the increase in static temperature that is the static enthalpy rise plus the kinetic energy change.    So, therefore, if you use that this becomes u v f tan alpha 2 minus tan alpha 1 minus half v f square then this is also tan square alpha 2 minus tan square alpha 1 now I use this expression for c p delta t s that is stage and this expression delta c p delta t a for the rotor this stage means delta t a plus delta t b then I can write the omega which is equal to delta t a by delta t s as c p c p cancels.    So, again I am going to write that for your benefit tan alpha 1 tan beta 2.   So, you will see a result like that this is the final expression for the degree of reaction now let us make an case study that where we get a 50 percent degree of reaction that means 50 percent or half of the total enthalpy or static temperature rise of the stage takes place in rotor in that case we get a very good result that u by v f is equal to tan beta 1 plus tan beta 2 now this is one very very important result now if you compare this result with this results u by v f is tan now you compare this with the result earlier that means this one u by v f is tan alpha 1 u by v f is tan alpha 1 plus tan beta 1 and that just now I wrote earlier also I wrote this is simply from the geometry so with this three relationship you get very beautiful result when you equate this with this that means we get alpha 1 is beta 2 and if we equate this with this then we get alpha 2 is equal to beta 1 and as we told earlier that alpha 1 is alpha 3 that alpha 1 is alpha 3 then that becomes equal to alpha 3 so this is one very important result what does it give this important result gives if I write here that this results if I write here alpha 1 is beta 2 is alpha 3 and alpha 2 is beta 1 then you see what we get alpha 1 is beta 2 beta 2 is the outlet angle of the blade rotating blade rotor blade and that becomes equal to alpha 1 what is alpha 1 alpha 1 is this one which is alpha 3 that means outlet angle of the stator blade that means the outlet angle of the rotor blade equals to the outlet angle of the stator blade again beta 1 beta 1 is the inlet angle of the stator blade which becomes is equal to alpha 2 alpha 2 is the absolute velocity angle at the outlet of the rotor which exactly equals to the inlet angle of the stator blade. That means, the inlet angle of the rotor blade is equal to the inlet angle of the stator blade. So, therefore, inlet angle of this rotor blade is equal to the inlet angle of the stator blade, outlet angle of the rotor blade is equal to the outlet angle of the stator blade. So, they are cambered in the opposite direction, but their inlet outlet angles are same. The inlet angle of one blade is equal to that of the other and outlet angle of rotor blade is equal to that of the stator blade. This type of design of blade is known as symmetrical bedding and it is easy for construction. Therefore, we see for a 50 percent degree of reaction 0.5 we get a symmetrical bedding that means the inlet angle of the rotor and stator blades are same similarly the outlet angle of the stator and rotor blades are same thank you today after this.


So much for staying with us. This is Y254 Y in the morning breakfast show. Trust you, enjoying the programming here. Time for a career talk. I'm speaking to one, I'm hoping, and I believe you have seen him on your screens from theatrics to music artists. He's one and only David Allewa. Sidri, if I say more of him, I'm not going to say more because he's someone who has made inroads in your screens and so much he's spoken of him. But let me give him an opportunity to greet you all. Good morning. Merry Christmas in advance. Thank you. My name is Allewa David. More people know me as Allewa, A-L-L-I-W-A-H. I also call myself the palace boy. I'm an artist, performing artist. I'm a gospel musician. I'm an actor, producer, director and of course CEO of a group, LA to a theatrics arts ensemble which performs set books. So I'm also a theatre and education practitioner. Allewa, I have to ask this, during the interest of time, how did you find yourself here because I'm a boy? Okay, basically, Oh my goodness. So, of course, I've been the prosecutor on Viyujama Kamani. After the first cast, we were the new bit of young people. I've acted in other programs in different stations. I was in a program called Prane Prey on NTV. I'm also doing undercover, which is in Masha Magik. I've done a movie to a woman of Obiru, right now showing in Showmax, but it's also in Masha Magik more. But as your question was, how did I come to this? I was, I had this thing in me. Fun enough, kwa familiaritu, atuna bagam de kupada atunum sayat alikua actor, ama alikua musician. I don't know that I've tried being on the cycle, I've not seen. So, we're back in primary. Apu na palini kwa inspired. I was a bit of funny, funny. I love music, funny.  So, some other guys would rap, some other guys would sing. So, I thought of how do I sing and make people laugh? So, nikuwa na imba nga zilizopendo. That's how I started. So, kwa mata wenewe? So, wenewe. So, wenewe. Of course, nia skia nga wablani na imba wa. So, wana chekwa shaka. So, wana fanyani mi. So, I was doing that at least to fit in, but in a different way. So, in acting, it was in class eight in Kayole, a school called Jawabu Primary. Right now, it's called Jawabu Primary. And one of the actors was missing. So, there's a guy I called Jeralo Koth. So, kuna karakta apa fanyani. And that was the beginning. But musically, oh, nili na lot of you, kuna na nerobi maskwaya, whereby we used to sing for Mui a lot. That's how basically my acting world started. But I didn't really know that interkwani fanyakama kariya, which I've tried now done for 20 good years. Exactly. Brings us to the point, kariya in the informal sector. When you come to this industry, you should have a self-drive like you did, and of course you have a plan. But now the bigger question now would be, how did you understand the task ahead of you? Now that you have come into the industry, I don't want to say you went to the school of Sijini Yukasomea Sijini, yukamu asasa. Now, after going to the school of arts. How did you get to choose the task ahead of you? And having in mind, this is the path I've chosen, and now, is it in tukuna fanyakama? So, of course, as I've just told you, kwanza yuma was a primary, then I got into secondary school, high school, and that's where now I was very, very active. Very active, because I was born again Christian. So I was in the CU, I used to sing. I don't remember any other Sunday, any other Sunday I never sang. Every Sunday, from one, kwa kwa fomfom, ni kwanakayumbo naimba hivu. So I didn't know what I was doing, but unfortunately, of course, I had lost my mum when I was almost in class eight. So, niki maliza shule, my wish was to go to Form 6, Form 5, Form 6. So I really wanted to cross the borders, ni endeyu, ni kwanaski nafkiawa say. Kwa kwa kwa kwa kwa kwa kwa. Whassfan kwa. Ha, ha, ha. Ho himselfmo. So I went... after school I tried thinking about what do I do with my situation nakilakitu, not having a backup, ś緤ihokun, ya moziazi. And so I went to Kelvin National Theater. But of course, as you talked about, I had a drive in me that I'll make it. I had this thing in me. I always say that things to do with talent, you must push yourself and avail yourself. Asma wuji avail. Aka kama wujuwi. Alimu avail yourself. Siti wujuwi. The only thing that opportunity has to be kujia. You have to go for that. So me I went for an opportunity. I saw an audition at the Kenyan National Theatre. By then being done by heartstrings. That time we were going to get a heartstring ensemble. Right now your heartstrings in attainment limited. So there I remember before that I went for a. I went for a, I went for a. Is it kumbukumi ma nini? Aplo 10 to splo 10. Which was aplo 10. I went to KBC by then. I went to KBC by then. So splo 10. So I came up. Ehi lakini kakwa di skaring kasi kima story mi ni. I remember mama kaya ii. I met mama kaya ii then. Akani takano kana kijana. Wantakani ni ya benka kama wan to become an actor. And that's how. I didn't really go for that audition. I came back for the audition in 3 months. And from then on, I said now building up. Because everything to me is even a career. Whatever you want to do, you have time to build up. For me, I built an office. Now, I see you've come to an industry where you're spoilt for choices. How is that art? How is that inverse? Either dance, bad or... Have you tried stand-up comedy? Stand-up comedy, not really. I've not done stand-up comedy. But funny, I've been able to produce a lot of stand-up comedians. One of them, of course, being Jalango, is my product. I came from my group in 2004. We had a sleepy David who came to us all the way from Lodu High School. Swaqa Kujakwa Gurupiangu, Tunasami Kiyoko, who is also in Churchill. And Awinja, we were at Pashirangula. I've been able to make some of these guys. With time, when we were starting mostly kwenafanya, of course, our stand-up comedy was most scripted. We were doing stand-up comedy but most scripted when we were in Heart Stings and other groups, Phoenix, Evo, kuna Friends of Theatre, and many other groups. So from there, I got into now a nurturing talent. So I think we've been in the sink sana into nurturing than now myself going out. You made the choice of kuka kwa art industry. Now, knowing that hindi kitita kwenan letia unga. Paying the bills. The decisions you had to make, nini ni kapasuliyu ona, I need this and this for me to be here and there. Thank you. Now, one of the hardest bits about art talent is making people around you believe in what you're doing. Even to the hardest bit. Because one, I always say, I shall say that you as an artist, you'll have to make your mother, your father believe in you. Your brothers believe in you. They are those guys who are called friends and schoolmates. Eh, wali omoka, wali omoka kwa top kuka enda. Sayi wami, umibuna fanya wami. They are bankers, they are nini. Believe that whatever choice you made, mibika mwa kwa na ulu kwa na good grade. Whatever choice you made was the best.  Making these guys believe that kwa talent na ita me. Because the funniest thing by the time we were starting, you get that adu kwa na any, it was really not advanced the way it is right now. It was really not advanced. So it, ilikwa lazimisha lazima who make choices, would you answer wapi, would you make nini. So that's what I said. For me, it were head to make up kwangaliai feel niseme kama nita kwa na fanya kitu then I have to make these guys believe. So I made an office in it. Believing in it and working day and night to ensure that I can now stand somewhere nandu mwami mwami mwa biwa I can wear a suit and still tell guys I'm an actor. I'm a musician. I'm an artist. Knowing that it pays your bill niki tu neza hacha? Not really. I don't, I'm not for saying anything to make me new watcher. Taka ma ni corona. Yes, new watcher. Yes, new watcher. Right now I've stayed for almost maybe eight months without work. But I still, in me, deep in me, I still want to do what I was doing. Paying my bills, I will pay my bills. But there's some other obstruction that is even beyond the bills. We come to maybe come to God with a matisiki past the Hinoa of God and the rest shall come. Maybe art, the rest of the design art. Speaking of which, COVID-19 has had an impact on almost every sector of the economy. So too. And of course there are ramifications of them. We can see them. But now, knowing that your industry requires innovation and creativeness like every other minute that passes by we can sustain what is Nikali. Nikali zara by the because I've seen I know the most unfortunate things that some guys are going to lose. Our are really lost hope. They're losing hope they won't be doing this again. But to me it has been a good time for me because I'm doing theater and education. I'm a theater and education practitioner. I go to schools. What people call set books. I do set books a lot. And so it means that like now schools because of now this pandemic those schools are closed and no one can go there. Despite that maybe right now we're having the form force. Not everybody can go there. So to me make what I'm poor sana to go back to the drawing board. Because I've been traveling since 2002 going to school for all those years. So to me it has been a time for me to reflect to look back and see what can I do. And so apart from that of course musical I've been producing music. Kama 2 weeks ago I've been I've had a new song. So I've also been doing a lot of discovering the bit of social media the impact of those social whatever platforms. So sometimes I go live on Facebook, on Twitter, on Instagram and those kind of things. So that has helped me not to die in terms of creativity. Now content na yo ikwaji is it the same things that you have been doing like when you speak of going to schools I know milkomenendaku after setting books. So say me content gani genu me kam na yo ama nileile but maybe with some spices. To me maybe I don't want to disclose a lot because we have competitors in our field. But we'll do I'll do the same thing but I think I'll do it very differently. But again of course I've had enough time again to go back to my other love that is music. Because to me I'm almost I usually say I'm almost the only artist who doubles up and do na fanya kilasiku na double between music and theater at the same time. And music takes a lot of time. Theater because it's a crowd you cannot do only one person it takes a lot of time. So it has also been a very good time for me to think about my music. Like imagine milish tukatu kumeni raitam on my fourth album and I didn't even know until I started kumeni siha wuka I have 16 songs in one album and another almost five on the next album. So I've been really discovering myself discovering what I want to do and even in terms of acting what is the next thing is it just maybe theater and education theater that is maybe set book I want to do something else. So there's a lot of things that I've really come up with. Alright but tuki kwa matua pukwa kwa COVID-19 there are threats like now everyone of you in the art industry amegia kwa YouTube kwa social media I know me sema utasema some of the things because competitors in Uengi of course yes competitors have been there but now how are you managing the the competition right now considering like everyone now is using the same platform kama ni fb kuna wa say fb YouTube waka tiktok I know kabusak tiktok waka tiktok waka tiktok waka tiktok waka tiktok waka tiktok waka so the thing is what is making me different is am really trying to to be different because the thing about the whole thing about about social media is how different you are are you a flakwana b are you a rikomoldi wana b award what are you bringing in fresh so to me I think you have to be creative you have to to come up with a different content and how you bring it on so to me like musically the guys who know me my music is a bit different my music is a bit different and that is something I'm still doing differently and trying to come up with other other good way of doing my music all right that's quite wonderful knowing that you keeping up in the industry in as much as kuna competition kuna trades kuna indizia social distancing kuna observer actually Christmas kuna kulia kwa nyumba me mpa some time too but I'm hoping when the president speaks on Wednesday he tells us something on Wednesday anafa wana kwa na meeting ato mefungi ya ati tu fungi roma kata wata tu gido kusawa wakisha ju to mefungi and we love you people what you do outside there but now thank you so much Karimbo for joining us thank you to know the history of your career in the informal sector like earlier here and I'm sure we will meet again in Fanyanga as an artist you're also an artist yeah but maybe to get a snippet of what you do maybe we will talk about how you find yourself where you are and exactly what you do so Karimbo is a spoken word artist I started my journey last year that's when I started doing poetry sorry the journey me kwa tu pwa to me kwa kitrai kuna chiangamoto kwanza right now we let COVID kwa tu jako to keep performing kwa shows but without God we are alive and healthy spoken word josengine muna pina kuchapatum misteri nawe taha watafil vibhaya pia umiwa kanyaga COVID-19 amuendi kwa hall or something but now aliwa has mentioned ya me ingia a YouTube me ingia a places inigine suzi kama kotok Tik Tok suzi kama entamuana Liko Liko umi define platforms suzingine zaku tu miya and how has it been for you Okay, me I've been using Pia Instagram, Instagram ni a very big platform kwa growing artist especially Kama Sisi to market yourself, so I've been using Instagram kuna Facebook and Pia YouTube, yeah. Now, uli amu aji kwa chukuliai kari wkai fanya, sasa hapanda unta kwa napataunga yango. Okay, maybe alongside the videos ngini zi nuna fanya nga, ni aji uli amu anata haku fanya spoken word. It's because this is my passion, I love what I'm doing and bebeni na sayo ma that your talent it will make you dine with kings. Ukiwa na talent, hakuna bila utaka kwa nyumba and you have something you can do, see must to kwa employed. Mi ujeribu kwa ambi yama yutu eni wa kuhuko kwa mta. You can use your talent to get where you want to be. Ni watu ingi sana wami twa waza zi wa o geto, ni watu ingi sana wami change like that or through what they do, through their talent ni passion. Kama kuna passion akuna kitu waysi do, yeah. Wow, passion and the words of David, your skills will make you dine with kings.  Now, understanding the demograph of the people you address kwa ingi kwa zotu ni tofa uti, kuna msa kwa like, sa Aliywa, mi I think Aliywa na kwangapua kwa imba kuli kwa kia acta, Aliywa na kwangapua aki acta kuli kwa kua imba. This is something that you chose you want to do. How do you deal with critics? Okay, unadjua, the funniest thing to me, of course I've done this, I told I've done this for 20 years now and I want to kill them too from the start of chachil to everybody because I've been able to work on guys like Jalango, Dr. Boat, we have Kina Salipi, we have Kina Silas, Wayne Maria and many many other guys outside there, Kina asa mga mlu is a broadcaster, nilim fundisha kuna rate. So I always tell my actors or the guys I meet that talent is the naked you and you have to believe in it first and then you bring it out. Guys will believe how we have confidence about what we are doing. So despite the critic, this is me, like now we are three of us here. Karimbo here is Karimbo.  The audience has choices to make her then everyday. Me have my art and have something I've decided to do.  I tell guys, I've done purely theater for 20 good years. I've done music for now 18 years, I've never changed career, I don't think of changing it. But what now makes me move is because I made an office and guys know me like this. So guys have choices, critics will be there. To me, I don't really have a problem with critics, they are good. They sometimes make you think, I don't dismiss them. They make, they sharpen me. But kuna placing niya, aneza kwa miku piga na maybe wa wana takahivi. Because sometimes you have to force it.  Maybe sometimes you may not understand it now, but maybe tomorrow. Uda nila, kumbe umjinga li kwa nanzaivi, lakimi kwa kulem bele. This is what I like to attack. So to me, critics are good for me. But at the end of the day, I'm Aliywa. Aliywa the palace boy. Simple. All right. Karembu, most of the employee persons niya koko mo ofisi. Many times watu niya na gongana na oni bosses or a colleague. So niya zangalia maybe wa kikuwa wengi sana niwa tutano. But you, as an influence out there, it's a career you chose. Wunong ele shama milu niya watu. How watu wa kiaza kuku piga na like I'm say wa ofisi. How does that impact you on coming up with the ideas, is it a mystery or maybe we say a mystery flani kakanya gama say flani or maybe we are in a politician or I'm say too. How do you deal with those critics and the problems that come along with that? Okay, I like quoting the Bible. Webupi na say ma that. If people watu wa kiku tu piyamawe, you can use the same isoma oni zatu niya kujenga or do I call it. Yeah. So, okay, nasmaches kwa zo critics kuna kwangana ukweli ziko. So oni at the end of the day when dota kachini wone iki tu, do I really have to take it at hand? Lakin ni kwa muna jwa Kenyan skonza mafans wakone yo habitia. They'll take you up, but once you're up, they will pull you down. So, ina depend na piya vilihuta zitek. Ikona impact gani kwa lei fiyako. If the Kenyan skonza, the fans skonza wame zoeha like kuhu. Just saying negative things about artists. See, actually to shia zoeha. Watu tu wa unge wa semen shia zoeha, but you try to protect yourself like isi fike kwa hati. Nya pilihuta na piya karewa wana jwa. I also believe in a very harsh way. But since the day of John the Baptist, the kingdom of God suffers violent and the violent shall take it by force.  You have to be violent as an artist. Violent inside you. Siko baya, siko baya, but at the end of the day, of course, the good thing, you're born again. Wala luya kwa. Soza, mungu ni omu poda zolo. As long as you have God with you, God is guiding you. Good guide, answers, how to manuba out of all this. You move on. Now the next thing I want to engage you is understanding the market or the niche wu li kamaap, kwa juna taaku. Isafari sizi to bwa bekayangu. You came up with a group. Tell me, how has it been for you? And what kind of an impact have you been able to push out here? And what are you even doing right now, even during this COVID-19 pandemic? Okay, okay. So we're back in 2002. I came to Thetabit earlier, Kedogo. So in 2002, I got to meet people like Toyo, Will Broder and some other guys. They were forming a group, but then me used to do what they used to call straight plays. Straight plays now are only meant for public. So by then we used to have Phoenix under James Falkland. We had Kenwa Udo, Kenwa Udo doing art there and something wangi from Heart Stings. So I was there and then these guys, Will Broder and Toyo called me. They called me to join them to start a theatre group that is doing now what we call Thetain Education. That is now set books. So I joined them and after kama one year the group took a break. So kutoka apu. Eh, kwa dana kajangan kiwa? Eh, mazini mihaza, poza bunah, I had very good guys who were very sharp but doing one thing well. So 2004, then I formed the theatrics arts ensemble with my first cast being Kina Jalango and some other guys who were in that first team. So one, it's a very technical point, but now understanding where do I want to do. Because to me, again, the business perspective of it has to be there. When you're talking about paying your bills, you have to lend your power. God has to show you this what you're doing. I'm also doing music at the end of the day. Most of the time guys will say oh, si powa dola kini, God also kama paul tu maniaipiazima on that pulpit. I will eat. Okay, that pulpit I eat. So I had to work on something and I saw, I was so, I've really fit in so in education. I became almost like a teacher. Chambuha Vita buti siangamu malimu, malimu raya. Even right now, that's what has given me a chance to also be a host, I'm a TV host at KICD and I'm doing, na host wali mukuwa kwaipugami edu channel. So ni kawana patia education ni kwa ni fit. But more than that, it was my deep desire now to nacha young people. That's why like our mission statement here, theatrismi empowering the youth, showcasing role models and championing for a morally upright future generation. So because of my background, I want first of all to empower young people to tell them the truth about art, how they should go about it. It's not about the artist, maybe by the time bikuwa na ingia, wali kwa na kama artist ni waso mechangankiwa, hawa jwa isoma, ni wa to immoral. That is not art at the end of the day because wadu oto kubosa na naku artist anyangyongu was an artist, professor anyangyongu kivuda kibwana was an artist in the 70s. We have in Buga, Francis in Buga, Shakespeare, Ruganda and those kind of people. So one empowering them was to show them what they are supposed to do to kama iluwa ntonga kukusulia ma ni li li li li kuwa sisimuwa ma ni li li lila wada, I'm looking for party. So that was one and then now showcasing role models. Right now I'm very happy. After those very many years, I now have my guys outside there. I can see, I can watch yuna jalaungu kubwa wao, sili piya ko pale. Oh sabiki yoko, oh tina sila soko apun niya iya niya jaboke. I'm very many other guys I'm seeing them. I can see asal mugambi in cities and na kumukani kimplega aboretami kumambia narit. Narit na fanaivi, utambagi na fanaivi. I would tell him to go and watch some guys in CNN. And so to me that was my field and so ni kaza kuipasi. So what makes me more is when I see those guys grow and become, see their vision be. Wow, that's quite commendable. No karimbo, ha other than, The spoken word or what you doing as an artist ni ni nugi n gunumuy u me explore as a person kulika in as much as ni mi se ma micha kari a yangu huwindivu nataka maybe I have something that I am doing or what are you doing to make your choice of becoming a spoken word person or an artist rather to remain still strong. OK, apart from being an artist I'm also a business lady, also apart from being a business lady, I'm also the founder of Bleeding Scars event. Bleeding Scars event is an event that happens after each and every two months in Kajole. So when I started poetry nili pata watua likuwa. I did my first piece, people received the twas. So I nili received calls, what you are talking about. I wanted to mentor me and stuff. So I was like, I don't want to play a game. I don't know much about it. But what can I do? I have the ability to, as a host show, I invite people to say they want to try the industry. And also I invite people to go to the industry for long because I'm telling you, we have talent. Dandora we have talent. Kariobangi, everywhere, places what is in itwa, geto zikona, very mad talent. But because umeske miitwa, geto you just, umeaza kwe take, umeaza kwe take haje, there is crime, nitaibi wa wuko. So I wanted to give the youth a chance to showcase their talent and what they do. So I've been doing it for one year now. So on 19th of December, takwa tuna holda 6th edition, we'll be having DJ Sheet in the house, Big App DJ Sheet, we'll be having coconut, we'll be having the Pluto, we'll be having kina katelo, wale watu water wame toka kaiole and they are somewhere, nyu takaku wa invite wa kujewa unge, na wale wene tunanza industry, wone shelek there is nothing impossible. Nani, okay, sama nali sema your dreams are valid, was it Lupita right? Your dreams are valid. Wether una ishikwa yo nyuumbai nalik pukiniyesha, you one day uneza ona mansion, uneza ona very successful business, it doesn't matter where you're coming from. Remains me of my days in Kibra. What do you look forward to as maybe as we come up to the end of this discussion? In the long run, wukona plan gani na wone skia dreams aliwa pana wene ali weza kwenua wasi, aliwa me omok. Wukona plans gani na wasi, wako kwa Bleeds, Bleeding Scars? Bleeding Scars, sorry.  So few years, ama few years to come na takam, wungi e kaiole na ufiluko safe, wungi e dandora na ufiluko safe. Alright, sijii kwa maniki kwa mbiyotu chapi Mr. Imbilutu apu anazo, aliwa as we finish, there is something called Suatonalysis which is the strength, weaknesses, opportunities and threads. When you come up to this industry, when someone makes a choice ame ma na takaku kwa msani, there are so many things that comes with it, from the critics, from the dealing with the producers, directors and all of you, kwa sumutu ane imaiki kwa imaiki kwa industry na kwa niya fan, bal kuna stressi zaki, how do you manage that? Okay, at the end of the day, we are just talking about that. First of all, kwa maniki kwa ni kwa encourage me to get in. The most important thing in the foundation niya kwa, what is your foundation wungi anza aji?  But a good foundation we have a place where we have to grow. Our group will be having auditions. We have done a public performance on the 3rd of October. We tried using the covid rules.  But now with the things that we have had roles that we face. We believe that set book is almost the only academy in this country that na fungshia wa to theater. Kuna, very many guys from set book. Ita chipuki zi, ita naani, ita any other person to me and zi apu. They once upon a time came to that place waha anze. So one of the things of course finance issues sometimes kumasa ikuna change to me that have been there I will tell you the kind of guys we have right now. We are calling them the millenials. Shida kubu asana ni patients, they are not patients. They want to collect to microwave. Ita omu kaleo, ita patai ita fangiangileo. I am talking about 20 years and I am still moving on. But if you think about it, you think about moving on. So one thing kwa kusaku choka. Kama like me, I am very patient, I am very na zi angoji apu paka fiki. So you must be patient first of all. Two, you must be very creative, innovative in different ways. How are you going to get this money? How are you going to use this money? My good friend here is talking about kumasa kubu fanya kuburinu maatisa. Kuna a lot of things, sometimes you have to talk to people. So you have to be courageous of them the day and more than anything you put God first in kila kitu and you put God first in your prayerful person and you be available. Things will open up for you. All right. Ima kama conclusion kwa kwa and definitely we are out of time. Okuna lines. I forgot to say ok, bleeding scars ita kuna happen. Kayole social hall from 2pm to 6pm. Na ticket ni only a hundred bob. Uzi kwa online watu okenda wataji pata? Una zani dm at Feli underscore karemba on Instagram to get your ticket. Ok, nasikuni 19th. Na auditions we have auditions on Friday, that is will be on 11th at the Kenyan National Theatre. Kama una talent, mafke ueni mu deadly you are the next big thing in this town. Come, it's for free. Just observe all the COVID protocols and all the best. You can get us on a social media platform Aliwa, L.A.B.L.I.W.A.H. Instagram, Twitter and of course Facebook and TikTok. All right. Thank you so much, ladies and gentlemen stage name ni Aliwa na karemba. Thank you so much for coming and speaking to our young people. Kama una talent kuna auditions inakam kuna event ita kwa Kayole 19th. 19th of December. 19th of December na entry ni so moja 2wezi kwa sa so moja. Kayole. Thank you for staying with us and keeping in tabs of what we've been discussing here. I trust you have learnt something. I'll be seeing you again later in the evening. My name is Dereva Hilewe. Good morning.