A massive game tonight as sixth plays host to seventh. They're separated by five points, but the Roar have three games in hand on Western Sidney. Tonight's match could be pivotal to seeing which of these clubs winds up playing finals this season. Champions. They have what a push inside. Wenzel Hall's turning away from goal. Now he faces up. Dylan Wenzel Hall's great save, Margoosh. His first daily years after making his debut in this competition. Josh Brindle South, right place, right time after a stinging shot from Wenzel Hall. Russell is overcommit on his left hand side. You've got to cut Wenzel Hall's off on his right foot, edge of the box. It's his favourite play. He gets good contact. Contestant save by Margoosh. But he can't deny Brindle South whose contact is crisp to make it one for Brisbane. What a ball Gillespie to an on-site Corey Brown. Dan Zarky back post all alone still. Wenzel Hall's free header. Couldn't turn it home. And there's back three for Western Sidney. Carrying out an inquest right now. What are McGowan and Moodakutas doing? Well, not enough. Russell lost his bearings. And Corey Brown, how he got so free at that moment. His grounds for an inquiry itself. But that's five yards out. Margoosh would have been stranded. His central defence. McGowan's overrun it. Moodakutas didn't adapt. And now Cox right through the middle four. Come on, Western Sidney. There's collateral damage for this front three to equalise for the Black and Red. Easy player, Riku Danzaki forcing Aquilina backwards. No shame. How would it look forward? Punches one to Wenzel Hall's just wide. He had Margoosh scrambling. He's such a confident young kid dealing Wenzel Hall's. Not quite on that occasion. She's been just outstanding this season. Just not that sharp this decision making so far this evening. Oh, Shay can go for goal here. Margoosh a long one. And it's not going to be there. He's a very lucky young man. J.O. Shay nearly put himself right on the highlight reel. Brilliant. Really. And he's got a little skip after it, too. I've hit a hole in one here, he says. Here's J.O. Shay looking long again. Champness. He thought about coming Margoosh. And Danzaki's in the...  Danzaki couldn't miss at the back post. You don't see many balls like that. Joey Champness. Joey C. With a bit of X-Factor. Well, this is just quite breathtaking. Look, he's wearing him like a bad suit. Ziggy Gordon has followed him all the way into the half to try and nullify it. When it's over the top, he can't match it. When you've got a player who can pick... I wonder his defence haven't got the threat of Joey Champness to worry about anymore, but Wenzel Hall's and Danzaki still out there. Go for broke here. Wilmering. Beautiful delivery of the head. Close to an equaliser. Now the corner variation. It deflects all the way through. Brad save Jamie Young. Reflex stuff to keep Dylan McGowan out. McGowan on the turn. It's just reflex pure from Jamie Young. When how many times have we extolled the virtue of Jamie Young? And quite a highlight reel. He'd have developed over the years. Bowls it out to Wilmering. He's a pretty good outlet, but he had very little support. Hinger got there first, played it cleverly. End of space here for Parsons. Only Mabrata in the middle, so bends it. And Mark Gush with a super flying save. Very nearly a tap-in for Mabrata as well. Parsons. Clipping it over the top a couple of times. Get out of my way, says Golgo Mabrata. Chance coming up. And now O'Shay, can he bend it? Another block in the road. Daily back in, you're outside Golgo Mabrata. And they have butchered the chance to secure all three points. The rule. Corley Gillespie stands tall for Brisbane. Look at all this desperation. Deflection. Bacchus. Aqualina to the pilot of Brucie. I'm here. And they've secured a mighty three points here, Brisbane. Brisbane go back to back. Warren Moon is finally getting the results. He felt like his team had in them at full time. It's Brisbane two. Western Sydney one.


Hi everyone, I'm John Furrier with Silicon Angles theCUBE. We are in Palo Alto for an on the ground segment here with Scott Bain, Simon Bain, I'm sorry, with Search Your Cloud here at the HANA house. Part of SAP's HANA Cloud Platform Meetup, that big wine tasting, not a big sales, but it's kind of a chill environment. Here in the heart of Palo Alto, across from the original Apple store.  So you need to have reliability and you have to have a partner with Cloud, with HANA. So talk about the relationship with SAP that you guys have, and just in general, your partnership. Okay, the relationship we have is actually quite close. So we started off with SAP with a startup focus team, which is a small team worldwide, but they take small companies like us who can work with HANA. And the idea of startup focus is actually to sell HANA. And of course, if they're selling HANA, we're selling it because they're helping us with our product. And we started with them about a year and a half, two years ago, and we moved on there, and we've recently now joined up forces with the OEM team, and we now embed HCP into our product. We work very closely, as you saw today, we come on stages with them, we go around talking for them, and in turn, they put us in front of customers. So it's a good sales channel for you guys, but more importantly, it talks to the ecosystem opportunity that SAP has. A lot of people are confused about HANA. They think it's a fine suit as Taylor made for certain use cases, a Ferrari for the freeway, but yet it's growing differently now. That's kind of the fun. Talk about the relevance of SAP HANA Cloud as it fits for the opportunities for partners. I mean, bottom line, make money is good. Do you have to make money? Yeah, making money for the partner itself is important, but actually the reason we chose HANA Cloud Platform is because it's easy to use. The whole idea of the cloud is that it should be there, it should be constant, and it should be simple. So we talked about enterprise search. Enterprise search in the past has taken months to implement.  And that's what Cloud Platform, such as HCPree brings to you, it brings to us specifically and our customers. We can be up and running and say within 20, 30 minutes, we can have them searching across their entire ecosystem, whether it be SharePoint, Exchange, all their document stores, their data stores. We can have them up and running within 30 minutes because we're running on a cloud platform. That's what the cloud platform from HCPree. That's the number one complaint we hear on the marketplace from customers and channel partners and integrators and ISVs is it's complicated in the cloud. It's DevOps, it's an integration challenge. At the same time, they need turnkey scalable products. So they need to have reliability and they have obviously economics in the cloud is unprecedented change, we're seeing that. Talk about that dynamic. What is SAP's uptake in the partners? Can you share some anecdotal data, feedback you've heard from other partners amongst other than yourselves? The answer, simple answer is no. We were at the TechEd Show a couple of weeks ago down in Las Vegas, we were mixing with a whole load of partners there. I think all of them were running on the HANA Cloud Platform. And so that tells me everything I need to know as a company, is this a product that we can trust? Because remember, it's our customers. They're not HANA customers, they're not SAP customers. They're such a cloud customers that we're entrusting somebody else's platform with. And so for us, we have to know it's there and it's talking to these people. I can't give you any of the actual figures but talking to these people, they haven't had any issues. We haven't had any issues implementing it, our customers haven't had any issues using it. We've been using HANA now for just under two years with our own instances. We're relatively new to HCP in the last 12 months. We haven't had a single problem. It is for us, the uptime or the rest of it that's our problem, that's not the cloud platform. We need to know the cloud platform is up and running. That is, that's where the HCP comes in. We haven't had a problem yet. We know AWS has had problems, we know HANA has had problems, HCP has had problems. We know Azure has had problems and Google has had problems. It's the internet. I'm calling it what you like, it's the internet. If you've got downtime, if there's a pipe broken somewhere, it's going to go down. But what you've got to do as a supplier, as a partner, is evaluate for yourself what's best for your customers. And for our customers, ease of use, ease of implementation, for us, cost, ease of implementation, and overall it's, will it stay up? Enterprise search gives you a lot of visibility because you're hitting all the stove pipes and the horizontally scalable open source piece of the business. So I got to ask you, given that visibility and some of the range that you guys have seen inside the enterprise, what's the one thing that's the biggest, or one or two things that are the misconceptions around HANA? I mean, there's been a lot of fun, fear and certainty and doubt around HANA, certainly from Oracle and other vendors. I see a piece got a lot of power, got a fast in memory, great pass, infrastructures and services out there. What's the one thing that people should know about that they might get fogged up on all that fun? The reason we came onto HANA is because it's a, blindingly fast database. And that's the first thing to keep in mind. HANA is probably the fastest database there is. An example of that is our own search. So we can put 2.6 terabytes of data inside HANA, email data, and we can search it in two times a nanosecond. 2.6 terabytes of data. We could only do that with HANA. So if you're going to take anything away from HANA itself, is that it, forget the whole platform itself, HANA is a blindingly quick database. How about the ecosystem out there? They make good money for you, the partners out there. What's the vibe in the channel? The vibe in the channel is really good. Yep, they put us in front of customers, they help us with the customers. So the stuff we take, the leads we take them from TechEd, they'll help us with those, they'll put us into the right places, they'll help us with the direct sales. So yeah, the partner channel is very, very good from our perspective. And we're only a small customer, remember, we're a small company. All right, it's final question. What's the coolest thing you're working on right now? The coolest thing we're working on right now is the ability for people inside Office 365 to actually have all their stuff encrypted and have it controlled by HCP in the back end. All right, son. We're completely aligned to the user. Yeah, integration, encryption, cutting edge, DevOps is hitting every vertical. This is the cue. Of course, we're DevOps of content. We'll go wherever it takes, we'll vertically integrate. We're in on the ground here in Palo Alto on University Avenue at the HANA house, the former Borders Cafe, the former theater, right across the street from the original Apple Store here in historic Palo Alto. I'm John Furrier on the ground. Thanks for watching.


I welcome you all for this session. In this session, we will continue the discussion on linear measuring instruments. We will discuss about the dial indicators, dial test indicators, digital indicators, digital and dial thickness indicators, digital depth gauge and universal caliper. Now, first let us discuss about dial indicators. This figure shows a commonly used dial indicator. I can see the various parts of the dial indicator. This is the basal and basal lock and this is the dial. We have bigger dial and a smaller dial. The resolution of this dial is 0.01 millimeter and for each revolution of the big pointer, the small pointer will move by one digit, one graduation. So, the range of this measuring instrument is 0 to 5 millimeter with resolution of 0.01 millimeter. Now, there are limit hands. We can set these limit hands for upper and lower limit to set the tolerances. Whenever the pointer goes beyond the limits, then the workpiece can be resurrected. So, this can be used for limit gauging purpose for comparing the dimension of the workpiece with the nominal value. And this is the stem and plunger and this is a carbide contact point. Most of the parts are made out of high strength stainless steel, so that it will be rigid and it will be sturdy. Now, what are the specifications of dial indicators? Now, these dial indicators are available to work in normal working condition as well as in the condition where there is splash of coolants. So, waterproof type are also available and back plunger type are also available. In some cases, we have to use the dial indicator wherein the plunger is at the back and then where long stroke dial indicators are available with the range of 0 to 300 millimeter and the dial size can be 31 to 36 mm for a very compact dial indicator where space is not available. Such compact dial type indicators can be used and large diameter dial also they are also available with 92 millimeter diameter for easy reading. Now, you can see the graduations are available in 0.01 mm, 0.001 mm with the range of 10 millimeter, 5 millimeter, 1 millimeter like that and in bracket we have indicated range per revolution. So, per revolution is the range is 1 millimeter and then accuracy of these dial indicators overall accuracy is about 13 microns for this particular range and it for 0.001 graduation the overall accuracy will be 5 micrometer and repeatability will be like 0.5 micrometer, 3 micrometer. So, depending upon our requirement we have to select the appropriate dial indicator. Now, there are different types of contact point plunger ends are available like ball point, end shell point, spherical point, conical point, knife edge. So, depending upon the application we have to select the proper contact point. For example, say we have a very narrow groove like this. So, we have narrow groove like this in such cases we may have to go for knife edge types. So, that it will enter into the groove comfortably. So, similarly the spherical type say the contact point will be like this with larger radius and when the work pieces are pushed from the side ways then such a spherical type of indicators will be very useful. Also, there are lever type indicators which we will be discussing after some time. Then let us see the construction of the dial indicator. We can see this is the measuring spindle or plunger. There are built in rack in the spindle and we can also see the pinion. So, when the plunger moves this pinion will also move and there is a set of gear train. This pinion is fixed to the bigger gear and this is in contact in mesh with another smaller pin. Like this there is a train of gear. So, the displacement gets amplified. Now, see this dial indicator one thing is it senses very small distances of the order of may be 0.001 millimeter or 0.01 millimeter very small displacement which we cannot sense. So, this type of dial indicator it senses the very small displacements as well as it amplifies like for example, 100 times 200 times 300 times it amplifies and finally at the pointer depending upon the pointer length also we get some magnification. So, in the dial we can comfortably note down the reading. For example, if the plunger moves by 0.01 millimeter the pointer will move by approximately 1.5 to 2 millimeter. So, finally, we get a magnification of 100 or 200 times. So, that we can comfortably record the displacements. Now, we have a spring here. So, when the workpiece is removed the measuring spindle will come down because of this spring force we can also see there is a here spring for balancing purpose. Now, we have another dial indicator this measuring range is 0 to 1 millimeter and the resolution is 0.002 millimeter. So, for one complete revolution we can see here it is 0 to 100 and again 0 to 100. So, for one complete revolution the smaller pointer will move by it will indicate 0.2 millimeter displacement. Now, this is the we can see the mounting arrangement here the back we have a hole is available. So, using this we can fix this dial indicator to the magnetic stand and we can do the necessary work. Now, this shows dial indicator with magnetic stand we can see the magnetic stand and we can also see how the dial indicator is fixed to the magnetic stand. Now, I will explain how to use the dial indicator for comparing the sizes of the workpiece that means the dial indicator is used as a comparator. Now, this is the dial indicator dial of the dial indicator and then this is the stem. So, this stem is used for fixing the dial indicator to the stand. Now, this is the plunger and this is the carbide tip of the plunger or spindle. Now, this is the stand of dial indicator and this is the reference surface datum and now initially we should know what is the approximate thickness of the workpiece and then we have to set the dial indicator for that the approximate size of the workpiece is 10 millimeter and I am taking a slip cage of 10 millimeter. You can see the slip cage this is a 10 millimeter slip cage I am putting it on the datum surface after cleaning and then now I have to set the dial to read 0. Now, it is reading 0 and just lift the spindle I will remove the slip cage and then I will put the workpiece the thickness of whose thickness of this workpiece is to be measured I am keeping that on the datum surface. Now, I have to take the reading. So, when we lift the spindle it moves in the clockwise direction. So, now when we keep this workpiece now the dial indicator reading is the resolution is 0.01 mm. So, the dial indicator reading is 0.2, 0.4, 0.5, 0.588 or 0.59. So, the size of the workpiece is 0.59 millimeter greater than the slip cage setting that means slip cage setting is 10 millimeter and size of the workpiece is greater by an amount of 0.59 millimeter. So, the thickness of this workpiece is 10.59 millimeter. So, like this we can use dial indicators as comparators for direct quantitative measurement within the range for example, dial indicator is having 0 to 10 millimeter within that range we can use it to use this instrument for direct measurement. So, we can keep the workpieces below the plunger and between plunger and the datum surface the plunger will move up and it directly gives the reading whether it is 2 millimeter or 5 millimeter or 8 millimeter. Now, what are the various applications of dial indicators? So, we discussed about this the it can be used for comparison purpose, comparison of workpieces with the set level and then this can be used for setting fixtures say we want to set jigs and fixtures on the machine. So, whether it is properly fixed or not whether it is properly aligned or not for checking that we can use this and also for certain tests on various kinds of machine tools. For example, say we want to check whether this slides various slides like tile stock quill and saddles whether they are parallel whether they have parallel movement with respect to access or not if there is error what is the amount of error and if there is run out of the spindle of lathe. So, we can check using the dial indicator. So, for alignment testing we can use this dial indicator also for backlash checking we can use dial indicators and also for direct measurement this can be used. Now, we will move to dial test indicator with universal swivel this is also known as lever type dial indicator we can see we have a dial here with the pointer we can have we can see the graduations the in this case graduations resolution is 0.01 mm and this is the lever of this indicator this can be used for alignment purpose or setting purpose or for comparison purpose. So, one arrangement is shown here the slip cage of required height is used for initial setting this is set to 0 when as for a for example, 40 mm slip they have kept and reading is adjusted to 0 and then we have to remove this and work pieces can be inserted and then readings can be in that case the height cage scale will not be using only we will be reading the dial test indicator readings. Now, this shows the another view of the dial test indicator this is the carbide tipped stylus. Now, we can see here we have the working mechanism of dial test indicator this is the lever which will move like this. So, this will move to approximately some 30 degrees it can be set at any angle and then it can be it will swivel like this that is why it is known as universal swivel dial indicator and then this is the this lever is attached to the gear sector and then this is in mesh with the pinion. So, when the lever moves like this oscillate tilt like this this gear sector will move and then pinion will rotate. So, this pinion is fixed to the crown gear pair. So, the this smaller crown gear will rotate like this and which is fixed to the pointer and pointer will move on the dial and we can take the reading. So, this is the working mechanism of dial test indicator and we can also see there is a bumper rubber bumper made out of rubber in case it moves beyond the limit. So, this lever will come and hit the bumper rubber bumper and it will prevent the damage to the internal mechanism. Now, when we use these dial test indicators the angle between the workpiece surface and the lever plays a major role we should always see the we should always try to minimize the angle between the lever and the workpiece surface. Otherwise the cosine errors will happen. So, that can be seen like this we have the workpiece surface and then we have this ball and lever. So, this is the axis this is the angle inclination theta. Now, we always see the workpiece will be moving like this. So, when we insert the different workpieces, so this will be the movement of the lever and we can also move the dial test indicator in this fashion. So, whatever be the movement of indicator or workpiece we should see that this angle is always minimum, so that cosine error effect is minimized. Now, moving to the digital indicators, now this shows an indicator and different functions are available like Kanoff function and then Hold function. So, and then the selection between the English system or metric system all those things are possible and then the data transmission data transfer is possible using RS 232C for transmitting the data to computer for statistical process control. And then we can see here this is the magnet stand dial indicator stand and the digital indicator digital indicator is fixed to the stand and then we can keep the workpieces here for measurement purpose. So, you can see the stand is very robust. Now, what are the features of digital indicators? Now, we can set the tolerance limits using that tolerance option and go and no go judgment is possible. That means, when we the digital indicator is used for checking the workpieces, if the dimension is within the limits it will say workpiece can be accepted by way of displaying the green color. If the workpiece dimension is outside the limit tolerance limit it will that will be indicated by a color red color by the indicator. And another important and very interesting feature is remote control by a hand held controller. The dial indicator may be at any place may be 1 meter or 3 meter or 10 meter away. So, that can be controlled by using remote control. We need not have to go to near the indicator and we need not have to physically touch the indicator for setting purpose and RS 232C interface is possible. See, since remote control is possible a zero setting and pre setting without touching indicator is possible. See, normally what happens if this remote control option is not there for setting we have to go near the instrument and physically we have to touch the body of the indicator and we adjust the indicator. So, during that time the setting may change when we are doing measurements of very very precise and may be micron level measurements. In that case that setting also we should maintain. So, if we physically touch the indicator the setting may get disturbed. So, our measurement may be there may be some error in the measurement. Since this remote control is available we can always use for very accurate and precise when precise measurement is required. And these digital indicators can be incorporated into measurement network may be there are some 100 to 100 thousands of instruments are there. All the data can be sent to the host computer for analysis purpose and these instruments can be networked into such an arrangement. And they are available in various ranges like 0 to 25 and 0 to 50 millimeter longer ranges are also possible with resolution of 0.01 mm, 0.01 mm which is an accuracy measurement accuracy of 0.03 mm. Now, these are digital thickness gauges. So, I can see there is a anvil and spindle and this will show the reading. In this there is no worry in one year there is no directly it gives the digital display to lift the plunger to lift the plunger and to insert the workpiece. We have the plunger lifting arrangement we have to hold this instrument and then using our thumb we can pull this. So, that plunger moves up and then we can insert the workpiece here and then we have to release this lever and then the dial reading can be directly taken. And there are various kinds of spindles and anvils interchangeable anvils and spindles are available for various applications. Now, the graduation it can be 0.01 mm or 0.01 mm and range is 0 to 10 mm, 0 to 12 mm they are available. And these two pictures show a dial type sheet metal thickness gauge. Again we have a lever here we have to hold this body in our hand and then we have to pull this and then we have to insert the workpiece here and this will directly give the reading. So, in this case the graduation is 0.1 mm and range is 0 to 10 mm. Now, what are the various applications of thickness gauges? So, it can be used for paper thickness measurement. See in that case we can use the very short range thickness gauges like 0 to 5 mm thickness or 0 to 2 mm such 0 to 2 mm thickness range such narrow range gauges are available. So, you can also use thickness gauges for measuring convex lenses and concave lenses. In such cases interchangeable anvils and spindles will be of much use. For example, say we want to measure the convex lens like this. So, in that case we can use both flat anvil and flat spindle, but when we want to measure the concave lens say we have a concave lens like this. In that case we cannot use the flat anvil and flat plunger. So, there will be error. So, spherical type or ball type plunger and ball type anvils are available. So, such things can be used. Also this can be used for tube thickness measurement. For example, so we have the flat plunger and then we can use a ball type anvil like this and then the tube can be inserted here. I am inserting the tube and then we have to move the plunger down and then this will make contact and then we can directly take the reading. Then narrow groove depth measurement is also possible. Say we have very narrow groove like this say of 2 millimeter 2.5 millimeter groove. So, in such cases we have to use a blade type plunger and anvil which will comfortably go into the narrow groove. So, blade type plunger and anvils they are available with thickness of 0.75 millimeter 1 millimeter 1.5 millimeter like that. So, appropriate blades we have to select and can be used for thickness measurement. Now, what are the specifications of thickness gauges? They are available in various ranges like 0 to 12 millimeter range, 0 to 10 millimeter range and then resolutions of 0.001 mm, 0.01 mm and then they can offer the accuracy of plus or minus 3 microns plus or minus 20 microns. So, depending upon our requirement we can select the instrument and use it and then now we will move to digital depth gauge. Now, digital depth gauges with very excellent features are available. Coolant proof digital depth gauges are available which can be used in very harsh machine shop environment. Different ranges and different resolutions are possible and they are fitted with battery and battery life will be like 20000 hours continuously we can use and recently solar type depth gauges are also available and so we have to put this moving rod with this is the depth measuring rod. So, this is the work piece and then we have to take this digital depth gauge and we have to keep like this and then this rod will where to make the rod to move in and then that carbide tip will contact the bottom and then this indicator will directly give the reading. And then extendable rods are also available depending upon the depth of hole or the height of the work pieces we can select appropriate extension rods and then we can fit them and we can use them. Now, various kinds of depth gauges the digital depth gauges are available with the range of 0 to 150 millimeter, 0 to 200 millimeter and 0 to 300 millimeter also available with resolution of 0.01 mm and accuracy of plus or minus 0.02 mm, plus or minus 0.03 mm and they can offer a repeatability of 0.01 mm and repeatability of 0.01 mm. They have a very good accuracy of plus or minus 0.02 mm and for this particular range the accuracy is plus or minus 0.03 mm. Now, depth gauge attachment for Vernier, some attachments are also available. Now, we can see that sketch of depth gauge attachment. Now, we can see here depth gauge ends different kinds of ends are available. Now, this is the hook type end, this is the rod of the depth gauge and it is shaped like this, hook type shape is there. Now, say we have a hole of this shape in the work piece. Now, I want to measure the total depth. So, that is possible even with ordinary dial depth gauge or Vernier caliper we can measure this. Now, I want to know this thickness. So, this is not possible with our ordinary depth gauges. So, there this hook type depth gauge will be of much use. Now, you can see here we have to move this depth gauge towards this end and then we have to lift this end. So, that this end comes in contact with the work piece under surface, inside surface and then we can directly read this depth D2 and sometimes we will be having a projection in the work piece like this, I want to get this dimension D3. If it is outside surface, we can use the other instruments like Vernier caliper or micrometer, but now this is inside, this projection is inside a deep hole. So, in such cases, this hook end will be of much use. You can see here once we have to take reading here, this surface of the hook will be in contact with the surface, we have to take the reading and then it is moved like this, then again we have to increase the depth and then now this upper surface will come in contact with the bottom surface of that projection. So, again we have to take the reading and then difference gives this thickness D3. So, like this we can have different kinds of ends depending upon the application and then we can use. Now, for ordinary Vernier caliper or dial type depth gauge, we can have a attachment depth gauge attachment for Vernier caliper. Now, we can see here the Vernier caliper can be inserted, there is a slot here or groove here. So, through that we can insert and then there is a screw, we can clamp it and then we can use that complete assembly for depth measurement purpose. So, by using this attachment to the caliper, we can comfortably measure the depths and also the dial type depth gauges are available with the range of 0 to 300 millimeter and resolution of 0.05 millimeter. So, depending upon our requirement, we can select either Vernier type depth gauge or dial type depth gauge or digital depth gauge. So, before we select the instrument, we should make a survey of the instruments, the economical aspect of that and what are the various features, whether coolant proof type is required or not. So, such things we have to what is the accuracy that is needed, what is the resolution that is needed, what kind of repeatability is expected. So, all such things we have to see before making a selection. Now, we will move to a special type of caliper, we have studied Vernier caliper and different types of calipers inside caliper like that. This is a very special universal caliper, wherein we have the bar, this is the main bar of the instrument on which we have measuring heads. This is one anvil and this is another anvil, this is the measuring head and this is the second anvil. In the case of ordinary mechanical type Vernier caliper, what happens is, there is one fixed jaw and then another moving jaw, whereas here both these arms or jaws can be moved at a time. So, this can be moved in this fashion like this. So, this can be moved like this and this can also be moved. Now, we can keep the workpiece between these two and we can take the reading. Now, multiple dimension measurement with, see all these anvils can, the set of anvils are available depending upon our application. We have, we can change these anvils and we can use it. For example, for the measurement of thickness, for example, say we have a workpiece like this and we want to measure this thickness. So, in that case, we can use two flat type anvils and say we want a tube or a pipe, then one can be flat and one can be ball type or round disc type like this, disc type ends. So, when we have both disc type ends, so this can be used for measurement of thickness and as well as for measurement of pipe also, we can measure. This is the pipe and this can be moved and it will make contact here and thickness can be measured. And then the internal dimension measurement is also possible and then center distance is pi by the distance between two holes. So, that center distance can be measured and then the distance from edge of the workpiece to the center of the hole. So, that is also possible. So, one the anvil can be like spherical anvil and another can be conical like this. So, we have to fix this spherical type here and anvil type here and then using this combination, we can find the edge to center of hole distance. Similarly, say we have two holes and we want the distance between the this center and this center. In that case, both conical type we should use. So, it will give directly the center distance. So, like this various kinds of measurements are possible and they are available with a wide range of I mean wide ranges like 0 to 150 millimeter, 0 to 300 millimeters with the resolution of 0.01, 0.001 with an accuracy of the two microns, three microns. So, depending upon our requirement, we can select this type of instrument. All functions like hold function, on-off function and then conversion from inch to milli m m selection of inch system and m m select metric selection and then the data transfer possibility like RS-232C port. So, all such things are available in this universal caliper. Now, we will conclude this session. In this session, we studied about different kinds of dial indicators, digital dial indicators, then dial type dial indicators with varied ranges, varied resolutions, selectable resolutions and then we studied about lever type dial indicator or dial test indicator. We also studied about thickness gauges and what are the features of thickness gauges and then what are the various applications of dial indicators. We also discussed about universal caliper, what are the various features of universal caliper. So, with this we will conclude this session. Thank you.


Good afternoon, folks, Steve Rhodes, coming to you live from the shores of sunny Delray Beach, Florida, this year, 2 p.m. Update, and currently got all the U.S. indices trading in the same direction. Now this to the upside, that was up 679, the S&P 73, the NASDAQ 125, no charts, oh, it's on the wrong screen. Sorry about that. Folks, there we go. Mr. Bill, I had to make sure you had something to hit me on. Here's basically the screens out here, so you can see all the U.S. indices trading to the upside. Let's not spend any time here. Let's change screens. Let's go take a look at our U.S. index charts out here. So we begin by taking a look at the Dow that's in the upper left-hand corner. You'll see yesterday was Bar No. 9 of a TD-9 count. The oscillator and change line change colors about three or four bars ago. This suggests that price and that line are going to catch up to each other. That's currently printed about 35 to 86. The S&P 500 says that yesterday's move below its breakout level was a false breakdown, 4551. So here price should go target its oscillator and change line of 4659. The NASDAQ 100, you can see how the oscillator and change line over the past three trading sessions have acted as resistance. If it continues to move higher, 16342 would be its target. The Russell 2000 informed a TD-9 count bottom yesterday. This oscillator and change line had changed colors. That suggests it moved to 2285. The semis have not been able to take out the swing point from November 26th. That was last Friday. They are, it does have a roadsman dominicator top. It's just a sideways consolidation move is what I see right now inside the semis. The trannies, I don't have a great read on what they're doing out here. Spot ball utility index, it formed a TD-9 count top yesterday. Now the TD-9 counts don't seem to really work that well, at least on the bottoms. I'd have to really go back and look at the tops out there to see if they identify tops. But not sure. Now in the case of the XAU, it's not good because yesterday was the bar following bar number nine. Today price is trading below that. The XAU is signaling to an eye that it wants to get back to the 11667 level, but it's really all going to be dependent upon gold and Christmas, gold and silver, both of which have bottoming signals. They are the TD-9 count pattern, but just trying to find those here quickly for us. So both of those charts will populate. So you can see the bar following bar number nine on silver, that's on your right hand side. You're going to have bar following bar number nine is low right now in gold for today. So we should see a bottom here and then that should go take the XAU up higher along with the mining equities. Folks, stay tuned for David White, the power trade in our tumble, Brian Hill take us on home and I'll be back with you tomorrow sharp at 8 AM. Have a terrific Thursday folks.


Good morning guys as I care really early in the morning and I thought I'd just pop a quick video Especially since I'm staying committed to this video a day shit. So let's get it going Okay, I want to talk about the importance of saying no I Feel like a lot of people are kind of afraid to say no because of Perhaps the fear of some sort of conflict what don't mean by saying no, I mean when you're walking down the street Or you are the shopping complex and you have one of those cars Wash sales people and they're asking you to try that product a lot of people are a fear of Getting in an uncomfortable situation will entertain these people will talk to them instead of just saying no instead of just moving on or when some Religious Zella is trying to convert you into that religion, you know damn well You're not gonna get converted but you choose to sit there and listen to them now The reason I'm telling you to say no in situations like this when you obviously are not interested in whatever the other person's offering Is because you need to learn to value your time Seneca said that people when it comes to their items are very stingy When it comes to their personal items that they take care of the items whether it's your Timbaland boots Or your Ralph Lauren shirt, or maybe your Xbox 360 you take care of your items You don't you know reckless with your items, but when it comes to time people Squander it people chuckle left and right they Give their time To anyone as if their time was a prostitute When in fact time is your greatest assets your greatest is I Don't even know how to explain it. It's it's all you have on this earth time Because you have a limited time as the sands of the hourglass go through You need to learn to value your time and when these people are in your way Saying no is how you value your time so you can go on with your day when people Offer you to go to some event, and you're not interested don't entertain it. Just say no learn to get out of this wishy-washy middle ground where you're Spending time wasting time that you could be spending doing other things Say no to most things so that you say yes to the exceptional things It's not being mean.  You don't want to watch don't waste it going to a movie Don't know watch don't waste it hanging out with someone you don't want to hang out with Learn to say no No, you have to be mean about it. You just give me a valid excuse. I'm in a rush right now I have to get somewhere. I'm very busy that day. I'm afraid sorry But don't say yes to things that are going to waste your time Your time is valuable learn to value your time. Let's get back into this Focused way of living value of time because it is fleeting Anyway, that's the video for today guys. I hope you guys enjoyed that peace


This is Think Tech Hawaii. Community matters here. Welcome back to another episode of Human-Human Architecture here on Think Tech Hawaii in our Tropical Paradise of Honolulu, Hawaii. And we're back here for our every other week episode of learning from the best practices of the past for the future with your hosts. Well, there's our host, Martin Desbang, and I am co-host and assistant, let's say, DeSoto Brown for Bishop Museum. I'm a Bishop Museum historian. Never say that that you're assistant. No, no, no, no. It's your show. You're the boss. You're the boss. That's okay. It's not still more time. Let's jump right in because we got ourselves into something. What is that? What is that? We're talking about tropical brutalism, and brutalism is a style which was international in scope, and it was particularly prominent in the 1960s and 70s. And there's a surprising number of brutalist buildings here in Honolulu, which we're going to be looking at on the show and talking about the entire thing. And let's bring picture one, and it's something new foreign to the islands because how have we been building here initially with this stuff? Yeah, we were building with wood. And if you look at the photograph in the upper corner of this slide, you can see the Hawaiian Hale, which is built of wood, and then it has this statching of grass, which is a nice insulating light material to use. But there were also these massive Hale religious structures, which are monolithic and rather like brutalist buildings, which were made of stone. So in the photograph, people can see this is a huge stone wall photographed on Moloka in 1909, and they're even bigger Hale than that one. So while it wasn't totally traditional for Hawaiian most structures, certainly we see that there are other structures like that. So get to the next picture. Brutalism is an international style, and there's many definitions. Last time we just pulled this from the web, but we don't want to go there. We just want to mention one person who was sort of specifying what we're interested in, the tropical version of it. So the term tropical brutalism you find online tracing back to a gentleman whose name is Jean-Francois Lejeune, and he's sort of a hybrid of us because he's an architectural historian, and he talks about that. But we want to actually go to the next picture and not do it so scholarly perfect, but basically very emotionally excited as we are about it and the few other ones around us. And one of them is our dear friend Kurt Sandburn, our most activist reporter on the island. And at the same time, we were getting excited about it. He was sending us an email saying, guys, I'm getting sort of sentimental about brutalism and romantic and revisiting brutalism again. And he was pointing out sort of the mastermind behind brutalism that he would never officially associate with brutalism in his buildings. But he's certainly sort of the one who paved the way. And these are the next two pictures. The picture number three is his Escherich House up in Philadelphia, in the outskirts of Philadelphia. I had the chance to visit that. And at that time, it was for sale. And the realtor basically advertised it as the bunker for $300,000. It's now three million or whatever foundation, luckily, that tells you that something went wrong with his style. I have to say this building has totally blown me away. And I was just closing my eyes and trying to feel it with all my senses. And it just felt good. It looked good. It was just good all the way around. And the same with the next picture, which is Excella Library, which is a little further up the coast in Boston. This is an iconic building. It's the Stereotomic Monolithic Block that once you approach it, you can see more what's going on. And once you're inside, it draws you into this vertical vortex that is very much like a Pantheon-like, just amazing. Right. And that's something we're going to see, too, that the monolithic building frequently draws you into two spaces on the inside that doesn't show you what's happening on the outside. It wants you to come in and see what's happening on the inside. But let's do it the sort of provocatively polemic way, because we know, and this is, I think, almost no style had struggled so hard after being really hip and really in en vogue and has been so sort of hated. Correct. And this is, even the term was an unfortunate pick, because people now who don't understand where it comes from, it comes from baton bruit, which is the French word for raw concrete. But brutal in American and in English language was something different. Exactly. Exactly. Which is an unfortunate connotation for something which it didn't start out as, and people use that against it. Exactly. So let's start provocatively with the building and the building hopefully excuses us for having picked it as maybe one of the ones who are maybe more invasive of nature, so not so conducive of local considerations. And we will bring this number five, please. And where's that? Yeah, okay. This is Guaya Camilo Plaza. It's located at the corner of Guaya Camilo Street and King Street in Caligí. It has the very typical brutalist raw concrete finish. You can see on the right that there's a little strip of horizontal window there that is where the open space for the parking, which is hidden underneath the building. But this building also has been altered a great deal by the cell phone repeater stations at the top that have made it look very different than what it originally did. But you'll see that there are some common things to brutalism here in the raw concrete and also the horizontal strips of recessed windows. That's something we'll see in a lot of the other things that we'll see today. Yeah, you so perfectly said, brutalism minimized the glass to maximize the concrete. Absolutely, yes. But in defense of the building, whereas the parking is sort of half submerged, but on top of that is actually an open entrance lanay. So whereas the maybe, you know, the like three fourth of the building are basically invasive, there is this indication of some exotic more. And ironically, and that's we're going to see this again to the parking building has better air circulation than the building itself does. That's become the theme of this show. And next picture here is right around the corner. Next is the Hawaii National Bank on King Street in downtown Honolulu. And this again, you see the recessed windows, which are not played up as much and the concrete actually shades the windows. This is not just a stylistic thing. It does, in fact, have a function of reducing heat because there's not as much direct sun coming into the window. It is very common that like brutalist buildings very commonly were commercial structures, institutional structures, they were banks, they were offices, they were schools, they were government buildings. And this is typical of this as well. And you also don't see a lot of large brutalist buildings. I mean, usually see large brutalist buildings, not so many small ones, but not that's not 100% the case because we will see a few small ones as we continue to do. And this again, we allow ourselves to say is maybe not one of the finest examples. In fact, I was just working with a friend Don Hiver the other day, we were walking by and he was telling me stories about even in the authorship phase, I'm struggling there. So, but I think that's also typical for any kind of style, whereas the master is know how to do it and then come the sort of fall the optimistic followers, they don't understand it fully, but they copycat it. Right. And then you end up with buildings, they're more or less sort of, yeah. They look like it, but they're not really fulfilling it. Exactly. And that's we allow ourselves to be one like that. But go to the next one, which it gets better and better. Yes, it does. Project by project. Yeah, this is the first circuit court building, which is on Alakaya Street. Again, very minimized windows reduced to these horizontal strips deeply set into the concrete. And this is a little bit different. This building actually in the photographs looks lighter colored than it actually is. I've brightened it up. You've brightened it up. No, no, no. It is actually this this is deceptive, because this building actually does look more gray. But we are going to see that there are sort of two realms of this plain concrete that that are used here in Hawaii for brutal instructors. And we won't get into that yet, because we've got some better examples. But again, very typical, also something that you see do in a lot of brutalist buildings, a larger portion at the very top of the building. So at the top of the tower on the left, you can see there's this element that sticks out horizontally. That is also something that you see in brutalist buildings sometimes sort of a top that's clumped down on top of something. Big pimple, maybe. No, a big pimple, let's not say that. It's a structure. And it illustrates a little bit what you were saying, because this is really important, because that differentiates the invasive from the exotic. Yeah, so let's get back to us on screen so we can show you folks what we're talking about. So if we have glass, we know when this simulates the sun here, it passes the glass and it transference the heat. So you've got to burn your finger.  So woods doesn't heat up that much. We all know this. If we sit on a wooden bench in the sun, it's okay. But if we do this with concrete, we burn our butt, right? Exactly. And that explains us very simply that this here is a conductor, right? And this here is pretty much not. So whereas the sort of the heat transfer through glass happens immediate through concrete, it also happens but in a delayed way. Yes. But this is originally the way why the indigenous people not also was it easier, as you correctly said, to build with this one, more efficient and effective, but also these buildings stay more comfortable, thermally comfortable. Correct, correct. So that also is an insulating fact. Exactly. Exactly. But we also have to say that this material here is sort of locally available too, because three of the four ingredients, meaning water, the sand, and the aggregates are local. And then you already started to introduce their two different aggregates you can use. You can use the basalt, the lava rock, and you can use the coral. And once you use the coral, it looks lighter and more cream colored. Yes. And once you use the basalt, it looks darker. Correct. And the darker it looks, the more it heats up. That's true too. So the architects basically brought something from the mainland and then some of them were able to basically adjust that to the local conditions of being always hot and other ones didn't. So the ones who didn't ended up being evasive and the ones who did it are the exotic ones. Correct. And so we want to point out these here now increasingly. Yes. So let's go to the next picture. So slide number eight is the Kalani Moku building, which is in the Civic Center in Honolulu, and it is a state office building and in the upper corner of this picture you see the light, the freestanding lights, which light up the exterior of the building at night, which also are part of this rough textured concrete. And just as I said earlier that the top part of this building is more massive. It's got these protruding elements that stick out in the facade. But something that's very important, and we see that here too, here in a tropical setting, the greenery is always around the building. The building usually has blue skies and full sun. It looks a lot less forbidding and a lot less difficult than it does in temperate climates, whereas there's a lot more criticism of brutalism as being unfriendly and fortress-like. We don't have that as much here just because of our setting. And you can see this building is okay. It has an overhang and it has certain fins here, which we see soon as one of the ways to effectively shade. But it's not so rigorously consequent with that, right? No, it's not. It's starting out there, it's getting there, but probably again not one of the masterpieces. Correct. And our next picture is, I was saying that most, a lot of the brutalist buildings tend to be much bigger. And this is an exception. This is a small two-story building, the Lum Yip P building, which is on King Street in downtown Honolulu built in 1968, as you can see on the facade. And it has the typical vertical striping or fluting of the exterior, as you can see on the right-hand side next to the brass plaque that identifies the building. We're going to see a lot more of that, this texture, this vertical or sometimes horizontal exterior strips are very typical of the concrete used in brutalist structures. We call this bush hammered and it's basically a pneumatic tool, machine-powered tool that's still hand operated, but it's machine aided. And it basically carves out the top parts and it brings out the aggregates and then sort of the way you use the tool, it leaves these lines. Correct. So it's almost like a corduroy. Exactly. But this one is a regular and textured one. We will see that very frequently those textured elements, those vertical bars are chipped and that's intentional, but we will see that as we continue. Next we've got, okay, now this is a very interesting building. On the left-hand side, this is located on King Street in Kalihi. It is a Shinto shrine. It's the Tencho Kotai Jingukyo Dojo. This is an example of Japan's indigenous religion, which is Shintoism. Japan also is very, Buddhism is very prominent in Japan as well. And that sculptural sort of scoop thing that's on the roof, that concave element, I think is a reference to the traditional roof elements used on Shinto shrines, which usually have a diagonal sort of crisscross at the gables of the roof. But you show on the right-hand side. I came from another angle sort of of the architectural historian here that I'm pretending to be. Not. That to say maybe they were aware of Le Corbusier, because Le Corbusier in his late work was one of the proponents of brutalism. In his early work he was a high modernist and in his late work, especially working in other climates, he really started, as you can see on the left side of that building here. This is in Kandigarh by the way, where they were building this whole entire government building in India. And so that's missing on the picture on the left, where you have a lot of this sort of unstructured surface that gets hit by the sun. Only the arcades are shaded. You took a great picture in the sun and basically demonstrated that. So they were just taking sort of the iconic roof shape from the master, but not understanding how he was sort of continuing to be exotic. But I think that's a remarkable building nonetheless. And it does look very fortress-like. If you are looking at it from King Street, it looks like it could be holding off the zombie plague if you had to. Exactly. So next one, and we got to move a little fast. Yeah, this one is the first federal savings and loan of branch structure, which was on Veritania Street, which possibly is threatened with demolition. We'll see it's for sale. And in the upper left corner you put in the Unity Temple, which is a very early Frank Lloyd Wright structure, very iconic for its time period about 1910 built in Chicago or built in Illinois. And those that overhang and the windows being reduced to just simple little slits looks like this first federal building, which is on Veritania Street. Exactly. And it's a later brutalist building because you can see the texture on the right side in zooming in the picture you took is basically it results from that at that time somewhere in the late 70s in the early 80s that sort of bush hammering became to labor intensive and not affordable anymore. So the architects were teaming up with the industries and they basically created what you call the fluted block. And the fluted block is that make a form a mold and basically cast these sort of ribbons into the concrete and then you just stack them up. And it looks like it's fluted, but basically it's sort of pre-manufactured. Exactly. Makes it deeper to build. And next, we go to something that we've already discussed once, which is the Ward Plaza. And you pointed out, and I think this is really astute in the top picture, we've got the Roby House, which is built in 1910, very iconic important Frank Lloyd Wright structure of the Prairie School. This is built in Chicago. And if you look below the Ward Plaza, built many decades afterwards, they have a very strong similarity of looking like a lot of horizontal strips just stacked up on top of each other. And on the right, we see our close-up of that aggregate, that rough textured basalt incorporating aggregate that we've been talking about as being part of the brutalist look here in Hawaii. Very right. And this project was actually the first one that got us in touch with the brutalism. And the second one is the next picture, a show that we just fairly This is the Royal Hawaiian Center. In Waikiki. And you provided another great picture you did, where once again you can see this very raw rugged bush hammered surface. And you can also see the strategy overall of sort of carving out the monolith, avoiding the solid. Exactly. These are big rectangular blocks. And the picture on the left was taken in 1984. The structure has been altered a great deal today with changes to the facade. But in the old days, it was very much blank on the outside. They wanted you to come into the inside. Next project is another one next door here downtown. Yeah, this is the Pacific Tower of the Pawahi Square.  The building itself is in the picture on the left. And on the right is, rather than vertical stripes, we've got the horizontal chip stripes of the parking structure of this entire complex. And again, that's a very typical brutalist thing. But this is not the dark basalt gray. This is the lighter sand colored or coral colored aggregate. We also say those are the two sort of different colors that you can use of the concrete. And us being the easy breezy provocateurs, we would say let's move into the parking structure. Which has got a lot more air circulation. And it feels good in there. Right. Right. Why putting this glass in that segway is perfectly into the next picture, which I call nicknamed the Kamea headquarters, which they have the administration in the building. Correct. This is this is Kauaihau Plaza. It is adorned with these very concave, concrete vertical horizontal panels, which are added to the exterior of the building. They look like they're structural and they are not. They were just actually bolted on there. And at one point, one of them wanted to fall off. And that was a moment of panic when they had to fix all of them. But again, the parking building, which is what you're seeing there has much nicer circulation because it's completely open, unlike the office building, which is insulated with glass and air conditioning. And this project also provides the permanent background picture you see every once in a while. Correct. That was something that my son, Joey, found most intriguing about the tropical downtown. We have here this contrast between the lush green and the sort of rugged, sort of man-made stone concrete. Frank, by the way, calls it liquid stone. There we go. And he writes it right. Go to the next picture, the Frank Fawzi building. This is the Frank Fawzi office building, formerly the City and County Municipal Building. It's also in the Civic Center. Again, very recessed windows reduced to horizontal strips. And remarkably, the entire base of this building is entirely open. So it's floating above its base. And so when you walk into the main area down at the bottom, you look up to this open space underneath you. And that's the whole building. Yeah. And we have to give credits to Dr. Alfred Yee, who just recently passed away, who is the mastermind from the engineering side behind many of these magnificent buildings here to create a totally free spanning ground floor lanai for such a tall building as a super effort and masterly achieved here. Right. Perfect. And around this building, we should mention the landscaping, which is the next picture and project. Right. And the parking structure that serves the Civic Center is very disguised because it has earth mounted around it and it's entirely landscapes. You don't see most of the cars, but you do see the brutalist elements in the elements that are visible above ground, the entranceways, the walkways, et cetera. Again, there are those vertical stripes textured into the concrete. And that gets us to the next picture, which shows a project which is probably the most iconic of our local tropical brutalism. But we don't want to talk about that so much about the landscaping around the building, which some sources say that's Lawrence Hallprin was involved. And Lawrence Hallprin in the landscape realm is probably the most dominant activist in brutalism. To the right is the Kella Fountain in Portland, which is a magnificent building, which is an urban waterfall right in the center. And we see traces, or there are traces, but we're going to talk about that. Many of these projects we're going to do shows entirely on the building. And the financial plaza is iconic enough that we can talk about that as a whole. Absolutely. So we want to show a couple of few before we phase out. More nondescript buildings here. The next one I think is on King or Bear Tender. Yeah, this was built as the Bell Collins building. It's on King Street in Kalihi. Bell Collins was and still is a contracting and designing firm. So they made this a little bit more sexy looking than a lot of the commercial buildings would have been at that time. And again, there are those vertical elements, the fluting that we see very common of that raw concrete. That's a different technology. These are the simple double T-twinties that you use for parking structure ceilings. And they just use it as a wall. So all of a sudden, this very generic industrial fabricated thing does the purpose. As you can see on the picture on the left, that you took at a perfect time of the day where it's high noon. And you see these fins shade the glass. So once again, exotic. Exotic and they work. Perfect. So do the next ones, next picture even more. Yeah, this is 1060 Young Street, small two-story commercial building. Again, the windows very recessed. Those vertical louvers are very much to give shade. And they do. You can see in the picture on the left that they are keeping the direct sun out of that building. And sun not only heats things up, but it also fades things because the ultraviolet rays in sun can be damaging. And the less direct sun you get, the more easy it is to live inside. And the next one, the Kaiser hospital. The Kaiser clinic. Yeah. Doesn't even more by on the right side, you can see these sort of horizontal overhangs. It's probably facing south. And the class we're looking at frontally is the west facade. Where he basically moved the windows facing northwest. So the goal of these buildings were to never have any sun hit the building. And this is a great tropical interpretation of what probably he knew, which was Lukan again, his Salk Institute in La Jolla in California, Southern California. Not only architecture, but also the landscaping in these pools. Last but not at all least, our final building here from downtown is the next one. Right, the Pan Am building on Kapilani Boulevard. And again, people tend to think of monolithic, huge, heavy, forbidding structures as part of brutalism. But in fact, in this case, we see the entire two stories that are facing towards us on the ground level are entirely open. And you approach the building through this big, large, open, breezy area, which is not, which is the antithesis of what people tend to say about, about, about brutalism. And also the chef, the main part of the building, you know, is pretty much thinned out, carved out and basically reduced to these fins with a, with a glass push deeply inside. Yes, true. So the last couple of minutes, this building reminded me of one that has very much informed me. And this is the next picture when I went to school for that one year in Lincoln, Nebraska. This is I am Pays Bank, NBC Bank at that time, now Wells Fargo. And it's pretty much very much alike a building we have here, luckily, by the same architect, I am pay, which is the East West Center complex and most explicitly there, the Manoa dorm building, which you can see at the very top left. Another sort of classification for differentiation between invasive or exotic could be the year of date of the building. Because buildings before 73, which is when the big oil crisis was, are not unlikely more invasive because they could just do anything with oil. But after that, the awareness was different. So this building with its sort of differentiation for orientation is already doing the right thing. And I want to add that for a couple of years, a new technology has been around. And that's called the ultra thin concrete. And this is thermally micro engineered concrete that you can basically cast concrete so it insulates. So you can build this building again, we're probably in that zero lead platinum building, which is pretty amazing. Yeah. Getting us to the end of the show, the next couple of pictures, this has so much influenced us that we as architects, we're doing an homage to that inspiration from my childhood here, from my education. This is the school cafeteria that we did a couple years ago, which is an exoskeleton that self shading itself. Yes. This is in temperate climate. If you would replace the fixed glazing with jealousies, you would have the same effect. And the top left is from Pays NBC bank in Nebraska. And at the bottom right is our interpretation of that. Next picture is a website you found the Soto. Yeah. And brutalism is now undergoing a re examination and a repopularization. People are defending it rather than criticizing it. People are saying we need to save the brutalist buildings we've got. I'm totally on board with that. And as you just pointed out, brutalism is relevant today with the new concrete technology that exists that makes it more environmentally friendly. So let's not tear them all down or repaint them or trash them. Let's appreciate it. And also go to the next picture. We keep being polemic. Let's not continue this. This is how we're building as of now, which is a glass box. And it's also metal. Metal doesn't grow here at all and glass just overheats. So why are building this way? And why not next picture following the trend that you just talked. They label this here. There's another website which is basically reintroducing brutalism. It says, Brute is back. Yes. So if we want to stay on top of things and not fall behind, we want to be as innovative as we were at Century here. Right. We want to look at these trends. Exactly. And there's a publication. This is a new book out, The Beauty of Brutalism, Raw Concrete. This is a new scholarly book that's available in bookstores. Right. And the last picture is another play. First of all, as you said, keep these goodies from the past. They're jewels. Treasure them. Yes. Nicely renovate them, clean them up. Yes. Innovate them. And if you built new, this is a project we proposed a couple of years ago for Manila. Once again, an exoskeleton, self-shading, easy breezy. We call this tropical textile. So this is our encouragement for the young emerging generation. Keep the old tropical brutalism jewels and build new ones. Exactly. And learn from them and keep them going. Exactly. There we go. So without one, see you in about two weeks for a new next episode of learning from the best practices from the past for the future with the soda brown and Martin Disping. Until then, have a good time.


Bismillahi r-Rahman r-Raheem and As-Salaamu alaikum everyone, Sayyidu San Heather with all of you and we are continuing with corporate governance and in our last session we were talking about the agency theory and in the agency theory we looked at the relationship between the principles who are the shareholders of the company and the management who are the agents for the organization and again their interrelation with each other and also the possibility of different conflicts and how they lead to what we call agency problems and agency costs. Now moving ahead the second theory that we are going to be talking about today is stewardship theory. Now again when we are looking at the stewardship theory then the most important and pivotal aspect is the organization itself and the interrelation between the different stakeholders and the different shareholders. Now in the stewardship theory of corporate governance it basically discounts the possible conflicts between corporate management and owners and shows a preference for a board of directors made up primarily of corporate insiders. So like I was mentioning the second theory which is the stewardship theory again looks at the different variables and the relationship between the different stakeholders and shareholders and how there are different nuances and different conflicts and different situations in which the appropriate corporate governance framework would ensure that those deviations are minimized. Now when we are looking at the stewardship theory of corporate governance it tends to discount the possible conflicts between corporate management and owners and shows a preference for a board of directors made up primarily of corporate insiders. The theory defines situations in which managers are not motivated by individual goals but rather they are stewards whose motives are aligned with the objectives of their principles. So ladies and gentlemen further elaborating upon this what we see is that the environment of the organization is made in such a way that the management the top management is not motivated by individual goals but is basically motivated through collective goals and they act as the steward and again the role of the shareholders tends to change and they are primarily of corporate insiders which tends to further augment and reinforce the corporate governance mechanism of a particular organization. Given a choice between the self-serving behavior and pro-organizational behavior a steward's behavior will not depart from the interests of his organization control can be potentially counterproductive because it undermines the pro-organizational behavior of the steward by lowering his or her motivation. So again what we are seeing is that the organizational environment and culture is made in such a way that the organization comes first and these stewards which could be from the management and could be from the shareholders and the board of directors they all are more focused towards the betterment of the organization towards its growth towards its optimization and their personal goals and objectives are one step behind rather than they being ahead and the organizational goals tend to strive over here the organizational goals are the most important and the stewards then tend to take it more forward and their motivation basically emerges from the growth of the organization and the success of the organization rather than their own personal growth and aggrandizement. So this is how we look at the stewardship theory. The stewardship refers to the responsibility of the board to oversee the conduct of the business and to supervise management which is responsible for the day to day conduct of the business. In addition as stewards of the business the directors function as the catch all to ensure no issue affecting the business and affairs of the company falls between the cracks. So again what we see ladies and gentlemen is is that even the board of directors is completely focused towards the organization and organization comes first slogan or approach is the dominating factor in the stewardship theory and the board also gets involved in the operations of the organization and ensure that there is no fallback there is no fallout and there are no cracks wherever they see a problem they move towards its solution and ensure that the organization does not tend to stretch apart or does not tend to speak apart but actually the whole organization is glued together because of the level of motivation and the sense of ownership which exists within the management and within the board of directors and that tends to encapsulate the whole stewardship theory and tends to ensure that the primary and main beneficiary is the organization because of the collective constructive and positive input by the different stakeholders. Ladies and gentlemen the greatest barrier however to the adoption of the stewardship mechanism of governance lies in the risk of the propensity of the principles risk taking owners will assume that executives are pro organization agency costs are effective insurance against the self-interest behaviors of agents and even Gandhi also elaborated the concept of trusteeship for better understanding director role towards employees. So again ladies and gentlemen what we see is is that the barrier to stewardship is basically self aggrandizement self motivation self growth self enrichment and that tends to sometime act as a barrier because it becomes very difficult for the different stakeholders especially the board to have that level of propensity to rise above and not look at personal interests or personal preference and only focus on the organization as a whole and what we see is that this type of relationship can emerge in the context of trusteeships or trust but in a commercial organization this type of role becomes a little bit difficult and steward ship itself becomes a very difficult theory to practice practically and pragmatically. Thank you so much ladies and gentlemen.


First of all, I just want to welcome Grandma to Ghana. Grandma, can you hear me? Yeah. Oh, wow. Grandma, do you know that everyone in Ghana is talking about you? Everyone in Ghana is talking about you. Do you know that? Yeah, she knows it. She sees it. She's been seeing herself on TV. She's been seeing herself all over. So she knows that she's the hit of Ghana right now. Oh, that was that the question? Yeah, I do. Yes, I do. I really love being here. I think everything is nice, the people, climate, food, transportation, everything. More than I dreamed that it would be. Is it a dream for you to be in Ghana for the first time or somebody told you to come in here? Or it has always been a dream to be in Africa? A dream. Yes, it's been a dream for years to come to my mother's homeland without a want to come. I think everybody, you know, especially the United States would like to do that. So that's right. And can you tell me the experience? I mean, experience in Africa for the first time. Can you tell me, how do you feel? I mean, experience in Africa for the first time. I feel good. I feel like I've been welcomed here. I know that everybody is so nice and everything, so you don't have to walk through anything. I feel when you're over here. Would you love to stay forever? Yes. Oh, but her family wants to take her home. We've been begging them, let her stay, let her stay, let her stay. Grandson, cousins, they all said no. We are taking her back tonight with us. Yes. But she's enjoyed herself.  This crown is so beautiful. Can I touch it? No. No. Who said no? Grandson said no. Grandson said no. I want to know who gave you this. The Nigerian Igbo King gave her that. One of the things that I really, we want to stress, and we wanted the countries to come to her, and they did. And Nigeria, the Igbo King, he really, it was a wonderful experience. It was. It really was. Yes. They had the dancers, and they had everybody, and so they showed her real Nigeria. Yes. So that's what we're very excited about. Yes. The headgearers is what I liked. And she loves her crown. Yes. But I mean those people with carrying things on their heads. What is that called? The straw man. The straw man. Oh. The straw man there doing performances and all of that as well. Grandma, what food did you eat in Ghana that you will never ever forget? There's one food that definitely you're trying. Oh my goodness. I hope I'll never forget all that I've seen. Yes. It's worth thinking about and something to live for, you know? If I could live in this country and be happy like I see everybody here, well, I would really be happy about that. Which means everybody when you call here everybody? Yes. So you see now I'm over here now all crippled and can't hardly see and sick, and everybody is in good health. Now I don't see the older people as old as I am. I explained to grandmother that a lot of Queen Mother, I'm going to refer to her as Queen Mother. I already told her that a lot of our seniors are in the villages. Yes. So that's why she didn't see like your mother and your grandmother and all that. Oh really? Yeah. My mom is old. Yeah. But I haven't seen the little children yet, you know? No. She didn't see a lot of children either. I came with two children but he left. Yes, he's showing me some children. But I'm one of them, you know, I'm also a child now. He's one of the son of a doctor company. Yes. He's one of my, I have adopted him as my son. Oh. Yes. Yes. Well I see a lot of teenagers, you know, active young men and ladies, but I guess they're all working is why they're talking about, oh they're not doing anything but walking around. No, but definitely you will have a message for our fellow brothers and sisters in the diaspora, roughly African-Americans, Jamaicans. If you have a message being here on the continent for the first time, if you have a message for them, what would that message be? I mean the folks here, you know, we thought it would be different. But oh no, everybody seemed to be the same. So it's wonderful. That is deep. Yes. I love the buildings and everybody seemed wealthy, nice cars and lots of everything. Grandma, then I have to ask you this. You're saying nice building, cars, before you're thinking there were no cars in Africa? No, tell them what was your impression before you came? That I didn't see all of that, you know. I thought I'd see people where out in the open and in the jungles and I came over looking for the trees and rivers and lakes and all of that. But it don't have to be, you know, for people to live happy in a country. It's nice. No, Grandma was pleasantly, Grandma, you got me saying grandmother. I want to say queen mother. That's what I'm supposed to say. So, you know, this is what I have in it. I'm so sorry. It's queen mother Na Lamile. Do you know that's your new name? Yes. That's your new name. Remember they gave you the new name? Oh yes. Na Lamile. Name, name. Now that's pronounced Na. Na. Na. Na. Na. Na. Na. Na. Lamile. Well, I'm glad to see that. I hadn't seen this. Really? Well, let's just put this right here and show it to all of his one million people. Yeah. This is her new name. My new name. Yeah. My new, I heard of a son together name. This is one of her names.  And this is one of them. Yeah. And then the evil king gave her another name. And then the old wusu king, the god people, they gave her another name too. Wow. Grandma, it's a pleasure meeting you. Yes. Yeah. Queen Mother Na Lamile. Yes, Queen Mother. Thank you. Welcome to Ghana. Madasi. Oh. Now, let's see. How should I say that since? Madasi. Madasi. But no. She want to know it? She want to say? Aquaba. No, Aquaba is welcome. She knows that. She's been getting a lot of the Aquaba. Yeah. Yeah. It's hard for me to think of the words. So they're different, you know. Even the spelling. Absolutely. Don't help me pronounce the word at all. Well, Queen Mother, do not feel bad. Queen Mother has done very well. Yeah. When she was talking to the president, she did say, Madasi to him. Yeah. And he enjoyed that very much. Yeah. Yes. Dr. Rico, I want you to, before we go, I just want you to tell me something. It's been a week for her being here. I just wanted to know who made this possible. Well, Queen Mother has been here for exactly eight days. She has attended 16 different events. She has been more alert at these events than we were. I was getting tired and she was just so alert at every one of these events. So it all happened because of one lady. Doctor, doctor, doctor, doctor, lawyer, bishop, Tony Luck. And what I'd like her to do, if it's okay with you, is just kind of come over here very closely. Is she our own? Yeah, she's right there. Let's give her a big round of applause. Yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah, yeah. You come sit right here. She has stuff to be on camera today. That's okay. You're all right. Yes, yes, she's going to be a very good woman. Okay, just sit right there. Yes, ma'am. Yeah. Now, Doctor Luck, let me just kind of tell you who she is.  She's the co-founder of the Diaspora Africa Forum. And you know the Diaspora Africa Forum. You did a wonderful piece on us that went around the world. Absolutely. And so she is the co-founder, and I had been telling her about you, and she said, I want to meet him. So this is really very, very wonderful.  So this is Doctor Tony Luck, and she is really responsible on that end for bringing her here. And then she handed it over to us, the Diaspora Africa Forum, to organize the 17 events. So just tell them how it happened. My first question would be, what really inspired you to do something like this? Oh, good. Mother Fletcher inspired us. And on the 19th of May, Mother Fletcher gave an incredible testimony before the United States Congress. And that testimony was the first time in her whole life that she had been to Washington, D.C. My name is Viola Ford Fletcher. I'm the daughter of Lucinda Ellis and John Wesley Ford of Tulsa, Oklahoma. I'm the sister of Hughes Van Ellis, who is also here today. I'm a survivor of the Tulsa Race Massacre. Two weeks ago, I celebrated my 107th birthday. Today, I'm visiting Marston, D.C. for the first time in my life. I'm here seeking justice, and I'm asking my country to acknowledge what happened in Tulsa in 1921. The night of the massacre, I was awakened by my family. My parents and five siblings were there. I was sold. We had to leave, and that was it. I will never forget the violence of the white mob when we left our home. I still see black men sin being shot, black bodies lying in the street.  I still see black businesses being burned. I still hear airplanes flying overhead. I hear the screams. I have lived through the massacre every day. A country may forget this history, but I cannot. I will not. And other survivors do not. And our descendants do not. When my family was forced to leave Tulsa, I lost my chance of an education. I never finished school past the fourth grade. I have never made much money in my country. State and city took a lot from me. Despite this, I spent time supporting the war effort in the shipyards of California. But most of my life, I was a domestic worker serving white families. I never made much money, but to this day, I can barely afford my everyday needs. All the while, the city of this Tulsa have unjustly used the names and stories of victims, like me, to enrich myself and its white allies through the 30s million raise. By the Tulsa Centennial Commissioner, while I was continued to live in poverty. I am a hundred and seven year old and have never been seen justice. I pray that one day I will. I have been blessed with a long life and have seen the best and the worst of this country.  And it's interesting that testimony touched me so deeply. And the words when she said, I think about that day every day of my life. Well, at a hundred years, that's 35,600 days. Over five billion seconds, several hundred million minutes of thinking about that. So when her grandson, Mr. I. Coward, who has been with her since he was a baby, called our company, our black troops, and asked, Granny wants to go to Africa. And I happened to be in the room at the time. And, of course, I've been in Africa a very long time, along with my sister. And she asked with pyramids and animals. But it didn't take me long to decide that Ghana was the place that we had to come. Because it was, and she has said it, and we had lots of ideas in other places. But, of course, because my sister was here, the diaspora in African form was here. We have an amazing relationship with the president and also the former president. I moved to Ghana in 1997 for five years, had business. My sister came in 2001 after being around Africa and decided this is where she was going to be. And built that beautiful embassy that you have come to, called the diaspora African form. So I called her, I told her the story, and she didn't hesitate. She said, absolutely. And then she does what she does best. She activated everything, activated her daughter who is Dr. Musa, Nadia Musa, the diaspora co-director. She even called me. She activated everybody. No, no, she activated everybody. But that's how she operates, you know. Once she gets it in her mind, she activated, so we made a small program. We sent it and said, how is this going to look? And she took what we wanted to do and crafted the most amazing, amazing. We stayed in the physical land of the Osu town, Akra municipality. But we went everywhere. Tuesday we had an ambassador lunch and the ambassador had every country come to us. On Wednesday we went to Nigeria, you know, and so it has been amazing. But she was the catalyst and spurred on by Mr. Ike Howard, who said, Granny wants to come, but her testimony moved us. And she said so many things, but mostly about justice and how her country, she was a worker during World War II. She raised her children as a good American citizen. She's been faithful. She was giving me a list today of all the things she has done in terms of her work life. But she never passed the fourth grade, but of course you can't tell because the intelligence is amazing. But that all, her whole life was upended because of this horror. So I just want to leave you with one other important word. Her brother, Uncle Red, who's now Chief Red, they went to the Osu dungeon and we explained to, I was given the privilege to explain to Uncle Red and to her what happened, what had happened. And the one word that Uncle Red said was, who would do this? And I said to him, the same people who burnt down Greenwood, Tulsa, Black Wall Street, it's that energy, it's that energy. And we have a privilege now to move ourselves forward as African, African-descendant people, African-American people, African-Caribbean people to become what Ambassador mentioned, what Mother mentioned, what Uncle Red's mantra has been. We are one. And not only that, I just kind of want to land by saying we're just so delighted and thankful to the president of this country for giving her a citizenship. Now she has an option. She is a Ghanaian and an American. You know, you can keep both citizenships. So she's an American and a Ghanaian. And she was asked, it just came out, the president asked her, and Uncle Red, would they like to be citizens of Ghana? Sure. And she said, sure. Absolutely, she said. How did she feel when they handed her passport to her? Well, she doesn't have the passport yet. But it's coming. Let me tell you, they're going to do it. Yes, this is exciting. What they're going to do is, you know, the president conferred it. You know, the grandson and the whole family said, absolutely, we want them to have it. And so she is now officially a Ghanaian citizen. And what they're going to do during the September UN General Assembly, the president is sending a team down to take her officially her papers. Oh, yeah. Yeah, yeah.  I want to say that. Ghana, you know, the office, the ISWR office of the president, the Ghana Tourist Authority, GIPC, all of them really, really supported us very much so. How do you feel knowing that you made this possible? One of the other things I'd like to share with your viewing audience is that before she came, she was in the hospital for four days. And she said, she told her grandson and uncle Red called her and said, are we still going to Ghana? And then she said, all the reason we won't go to Ghana is if I'm in a cask. Yeah, I'm in a coffin. A coffin. And here she is sitting up here looking beautiful and all of that with us. So that shows you what you have determination and your preservation. There's nothing you cannot achieve. And when you have a dream in your heart, you know, and one thing we asked Mother the other day, how has she, you know, not become bitter? And what did you tell me? Oh, my goodness. Oh, I remember so many things now. Just everything. I was surprised, you know, about the weather, the climate, people, food. That's, it seems like a different world to me. And Mother, when you were growing up, how did you not become bitter about your experiences? Well, because we loved everybody and thought that's the way it should have been and all of it. And I've lived through it. Yes, and great faith. That's what I thought. That's right. Faith and prayer is one of the things too that helps. So we want to thank you. We want to thank you. You are my son. And we want to thank you for all the good things that you do in telling the other side of Africa too often. And this is what Mother was saying. All she thought about was jungles and, you know, we're climbing through trees and all that. And so you tell that story. You go from country to country and you talk about the beauty and the goodness of each of our 55th African countries. That's right. Oh, I will. I certainly will. She'll come back. She'll go home now. She's a good ambassador. I can really go home and say I did not see because we haven't had time. These ladies have been kept me fed. Everything that's always busy that I didn't, you know, haven't still. It's not too late, but maybe next time I come. And I'm sure all of that is not true anymore. No. No. And when you go back to the state, you definitely have a message. When you see people, maybe it can be an ambassador for Africa now. They need to make that official. Absolutely. As an ambassador for Africa by telling people that Africa is not what you think. I always say thank you so much for having me. Thank you. I appreciate it. Thank you. I'm so glad that I came. Thank you. I have to also fly to get here. Yeah. I appreciate it. Yes. And I want to mention my grandson now. Grandson, grandson. I'm telling you, she does nothing without this grandson. Oh, no. She loves this grandson. He's her favorite. I must say that. I'm going to make sure I put my grandchildren's name on, you know, whatever it takes. Is it your first time in Ghana? It's my first time in Ghana as well, yes. First time in Africa. First time in Africa. First time in Africa. Why must it be your first time in Africa? We often want to come to Africa. We don't know where to start. Some of us have fears about coming to Africa. I said some of us, I'm fearless. That's why I'm here, you know. I'm fearless. Please don't start this fight. I wanted to see things for myself. Some people believe what they hear. I believe what I experience. So I want to see Africa for myself, you know what I'm saying? And my grandmother and uncle's bucket wish was to come to Africa. And I'm just a man to make it happen. And he was the man to make it happen. He facilitated it, you know, all the complications. He took care of it. I think now you've experienced Africa in eight days. What are you going to say after you've experienced in Africa within eight days? I'm going to tell people to come here and experience it for yourself. My close friends will take my word for it. But many people will want to know for themselves. And only one way to see Africa for yourself is to actually come to Africa. I just want to say thank you so much for making this possible. Yes. It's a pleasure meeting you. I definitely know you don't know me. But maybe as soon as I upload the video, you'll find out who you met. Go ahead. That's Mama T's nephew. That's Mama T's nephew and Dr. Erica's son.