Yes. Hello everybody. I am going to set my stopwatch for 40 minutes instead of 50 minutes. So we are ago at 40 minutes. My name is Kathy Edwards. I am the director of the New England Foundation for the arts, which is headquartered in Boston, works in New England around the country and internationally. Thank you Simon for the invitation to join you here today. Thank you for all of you. It's been an incredibly inspiring day and so fantastic to hear from some of the current Arts Link Fellows as well. I'll be candid. I accepted this invitation in part because early in my career I had some amazingly deeply influential opportunities as a result of Arts Link and that was the opportunity to host three different Arts Link Fellows. When I was at Dance Theatre Workshop I learned so much from those individuals and I think I also learned honestly how to be a host and in an international context truly of reciprocity. So I owe a lot to the program and it's a way to pay it forward just a tiny bit. I'm excited to moderate a discussion of four brilliant women. Their bios are in your program but super briefly I'm going to give you like one sentence on each of them. And I'm going out well now I'm going to go in order of where they're sitting. We have Zaba Rahman, a senior program officer for the Building Bridges program of the Doris Duke Foundation for Islamic Art who also has a storied career as a producer of complex arts initiatives and projects both in the U.S. and internationally. Next to Zaba Michelle Coffey. Michelle is the director of the Lambent Foundation and an experienced philanthropist who has focused on a number of arenas including health and justice and human rights as well as arts and culture. Next to Michelle is Rashida Bumbray who's a senior program manager of the Arts Exchange, the Open Society Foundation's Global Arts for Social Justice Initiative. I am a dance lover first and foremost so I'm also going to share that she's an accomplished choreographer as well as curator. And next to Rashida Barbara Lanciers who might need no introduction here, the director of the Trust for Mutual Understanding, a longtime supporter of international exchange related to the arts and to the environment and a theater artist in her own right. We're here today to share with you our experience working as funders with an international commitment. What are the principles of our work? Why do we engage actively with international work? Zaba said to me last week when we were on a planning phone call, the why of this work is clear. It's the how of this work that keeps us up at night which I think is really true and we certainly just heard a really beautiful statement from Simone Brough about the why of international exchange. From my own perspective at NIFA we invest in international collaboration and understanding because it is so closely connected to, it is the same as our belief in equity and access to culture for all people and it is really at the heart of our core values that artists and cultural production are essential to a thriving and open society. We also invest in artists and cultural workers as leaders and like all humans they benefit from the learning new perspective and relationships they develop when they engage in global conversations and as others have said so eloquently today artists are leaders who contribute uniquely to building cultural citizenship, sharing and exchanging stories, building participation and inclusion, connecting us to being more human and more innovative. At NIFA this year we've just supported five months of international U.S. residencies for artistic ensembles from Ukraine and Egypt. Under the auspices of the center stage program I'm so glad Nina showed a few photographs in her presentation. This is a program that we produce with support from the U.S. Department of State. So that's it for my introduction and we are going to as I said we'll shorten this discussion a little bit. We have 35 minutes to hear from our panelists and I'm going to start by asking each of you to share maybe the most innovative and exciting project that you are currently working on in your portfolio that gives you the most hope in terms of what you're doing in your international exchange work. And if you speak for five minutes each I think that will give you enough time to not only share some specifics about this project and initiative but to talk about why you designed it and what the outcomes are that you hope to see. Seva will you start us off? Absolutely, a whole thing written but I'm going to nix that and just talk extemporaneously to tell you that the Building Bridges program which is housed under the Charitable Foundation is focused on supporting projects of organizations here in the U.S. we're a national funder that build connections and understandings between American Muslims and the broader non-Muslim community. So we may be the outlier here in terms of actual work but what our grantees do is actually engage artists that are based internationally. So that's us and I'm going to talk about one particular grantee in Minneapolis called the Cedar Cultural Center and the Cedar Cultural Center is a mid-sized concert presenting organization that lives in the middle of little Mogadishu the Cedar Riverside community which is where the largest Somali diaspora refugee community lives and the Cedar decided that it was going to focus on Somali music as and center their project of connecting with connecting the two communities Somali and non-Somali in this area in this neighborhood. So they partnered with Augsburg College which is a small private institution and they began on the planning phase but they realized very quickly that they could find vocalists in the diaspora Somali vocalists but they couldn't find practicing musicians and the reason for that is that with decades of civil war and the banning of music in Somalia many of the musicians had either abandoned their practice or had been harassed or worse and it just stopped. So the Cedar found that they had this grant and they couldn't proceed so their academic partner Augsburg College you know their music professor the head of the music department decided that he was going to learn Somali music and then because it's an oral tradition that he was going to notate it and then teach it to a handful of students at Augsburg College and join with some musicians who would stop their practice in the Cedar Riverside community and create a house band the backing band and then and then they would invite the vocalists from the diaspora and that's how it started and it became an incredible project because a lot of the concerts were live streamed into refugee camps that around the world where the Somali diaspora was clustered and it was really I was very touched by one of the presentations they're one of the fellows I think fellows talked about fragmentation and trauma and collective memory and what these concerts did was really invite the diaspora to remind them of who they are and to empower them so I'm going to stop here Shelly jump next great maybe I should provide a little bit of context about Lambert Foundation and I'll speak about what is exciting me now so Lambert funds in three specific areas New York New Orleans and Nairobi New Orleans New York because it's our home I work with one individual donor so there's a lot more freedom and liberation and experimentation than with other funding institutions so New York is our home New Orleans we wanted to do a national work but I didn't want to build or play keep money with inside the foundation I always think you have to move money as fast as you can before we get caught so we keep it really small but we chose New Orleans for two reasons art and culture is infused in the daily fabric so there wasn't any justification that we needed to do with others and because there are very few philanthropic dollars that go below the Mason-Dixon line that acknowledges the south and so it was a political statement for us with that we were excited about the conversation but we realized that we couldn't really have a national dialogue without a global context so that's why we selected Nairobi and one of the reasons for Nairobi is that the states has a better understanding of a West African aesthetic signature and not a lot from East Africa and East Africa is so vibrant in terms of an Indian Arabic and African connotation mixture so that's how we get to have fun I'm excited I'm totally moved every day by our partners but I'm excited by the disruption of our own practice so I'm going to use this opportunity to actually talk about philanthropic practice instead of some of our grantee partners if you guys don't mind and we're disrupting things a little bit we are questioning that we don't think money is the most important thing that we're leaving so much on the table if we're only focusing on the grant making so spending much more time thinking about what influence might we have with our sector what are the relationships that we can illuminate and foster and so I think that's why I was invited on this panel we really think about network theory as our practice so one of the things that we've done is increased the amount of money that we give to core grantee partners over more significant years and that we make this general operating support and that we've done away with proposals and reports and that we're recognizing that this is actually a mutual agreement and so we're spending a lot more time thinking in conversation with the leadership of the organization that includes board members so that we collectively hold the intention of the four years of how we're working together yeah so we're and this is all being made up as we go and so we're practicing this out what excites me the most is a relationship with a philanthropic partner from the Netherlands so we have been intentional about a relationship with dune foundation and dune foundation has been a significant funder beyond behind a network called the arts collaboratory which is about 32 arts-centered organizations from the global south and the relationship between lambent and dune has allowed lambent to peer in almost like a fly on the wall to see how a network across multiple continents and different sizes and different languages really build a collective community with hopes that lambents community if we can organize it and if we can organize it can stand alongside in solidarity and have some intersecting touch points along the way and what I'm appreciative of the partnership with dune foundation and lambent are just the values that we're leading our work with and so this idea of mutual accountability between the funder and grantee partner and the different foundations the two different foundations that are coming together the idea of solidarity what does solidarity look like with the philanthropic practice that local relevance is really critical and important so the new york or us lens is not the only lens that we are leading through so how does one learn and listen better actually would say listen and this idea of openness and transparency which is in a challenging thing within philanthropy especially when dealing with wealth um but we're willing to try it so I wanted to offer that um as what is exciting me without it looking egocentric so it's really exciting for me to be on this panel one because um I've been on the receiving end and when I worked at the kitchen we got a grant from the lambent foundation so um it's just you know really thrilling as someone who's potentially um you know thinking about how to continue to complicate your relationship with philanthropy but also I'm only three years in so the arts exchange is a relatively new initiative at the open society foundations which historically has had quite a schizophrenic relationship with arts in general and I think you know that's sort of based on the fact that many people um you know that the foundation was founded by george soros and founded you know really thinking about how to avoid the world turning back the way it has now right and and sort of the linkage between propaganda and fascism so I think there's been a sort of anxiety around you know how do we support artists without um sort of really telling people what to think and so you know we've had to um complicate it which is really simple for people who are immersed in the arts to sort of dispel that but it's been um a little bit of a hurdle so hopefully we're beyond that moment um now but really um we exist to actually support and encourage our colleagues who are doing arts philanthropy who are doing social justice and and um human rights philanthropy throughout many global contexts to include artists and arts organizations in their strategies so that is very much an internal project but one of the things that has been exciting about that is we actually do have the opportunity to do some direct grant making and that has materialized as the soros arts fellowship which this is the very first cohort of the soros arts fellowship there about 10 months into an 18 month fellowship and it really was developed through a posture of deep listening to artists around many global contexts about what kind of support would actually allow them to think deeply about their local contexts and it was really developed around this idea of art public space and closing societies and sort of you know what are the various conditions that artists are working under and how can philanthropy actually be supportive of that and also not be putting them in in further danger so we have a group of eight artists I'll just sort of mention the context that they're working um Vostanlin Likula who um you know has a history with many of us in New York including Simon Dove um is is from the DRC and we know him because he is sort of a choreographic hero and superstar especially in New York in many European contexts but you know thinking about what does it actually mean for him to have the time space resources to actually focus on a local project and you know many artists as we know that are working in in closing contexts or closed contexts become the institution right and so in the case of Vostan he's developed um you know residency space and the project that he's doing for the fellowship is really a film it's a citizen film about a man who was sort of encouraged by two women in Kailisha in his town to run for a public office and the reason they did that was really because they wanted to get one person out of poverty not that they had a lot of confidence in what it would mean for this person to be um you know an elected official um so it really sort of talks about the sort of crossroads of hope and despair in many ways and sort of um you know the other thing that's really amazing about his kind of practice is that he's also teaching people along the way um like I said building an institution and so how to you know how do you create a contemporary dance company you teach people contemporary dance how do you make a film um in that kind of context teaching people film making while he's learning it himself um so that's just one example um and we have um two four other fellows in Africa Nana O'Friata Ayim in Ghana um and Hassan Darcy and Lila Hita in Morocco um we have Guy Régis Jr in Haiti um Laurie Jo Reynolds in Chicago um I'm leaving people out but anyway it's a quite diverse group of eight artists um Khaled Albea who is a Sudanese political cartoonist living in exile in Copenhagen but really sort of thinking about how do we create a network for those artists and also support them so they get an 80 000 fellowship over 18 months to make an ambitiously scaled um public art project or a project that engages the public and we thought about this idea of public space really from the lens of um artists that we talked to in a gathering that we organized called the OSF arts forum which was in Morocco in 2017 and it was around this concept of art public space and closing societies and a lot of what we heard was really that safety and security was one of the most important um things that artists were concerned with um and so within that we wanted to sort of explore well what does it mean to work in exile what does it mean to have an underground practice um like the Belarus free theater for example and what does it mean to um you know really need peers when you're working in that kind of deep isolation and so this fellowship is really uh developed to sort of um construct that kind of circle around a small group of artists over 18 months and then as it grows this year the fellows will be focusing on art migration and public space um that that community will continue to grow so that's the most exciting thing that i'm working on thank you um something that i am hearing a lot from all of you is listening and and deep listening and i that resonates with me because the thing that excites me the most about what i get to do at the trust for mutual understanding is listen to grantees um so to give you just a little bit of context of who we are um we're a small small but mighty foundation we were started in 1985 by an anonymous member of the Rockefeller family and we fund arts and environmental exchanges in 30 countries that encompass central eastern southeastern europe central asia the baltic states the caucuses mongolia russia and the united states so we have a wide wide geographic purview and something that is collectively happening uh across the board so i'll talk about the region i'll say the region and what i'm talking about are those parts of the world that i just mentioned um that's our geographic region there's a collective anxiety that's happening right now and it and it means that we have to do a lot of really deep listening and and we have to uh in many ways be a thought partner not a micromanager but maybe a reflect our back um so one way that we've been deeply listening and trying to be responsive to that listening is that um particularly for our grantees in the region the part of the world that i'm talking about um you know we only have four staff people um we only had three staff people and uh we cover such a huge geographic territory that we felt like you know we the three of us were on airplanes all the time which is which is wonderful and important um but we really felt like we needed a presence closer to the part of the world where we work so we hired a regional representative and she's now based in Berlin um and we have a small office for her in Berlin that we rent at the Aspen Institute Germany and they become a very great partner of ours and um that's been important for us because we have access also to their facilities so we are able to uh convene in a way that uh we are being constantly asked to do because we have the privilege of sitting in a place where uh we can see trends that are happening here in the united states that are reflective of trends that are happening in the part of the world where you work and the grantees keep asking us please we want to talk to each other you guys are nice as staff people but we really want to be in the room with each other we really want to talk to each other we're all in similar situations now and and we need uh time and space to to strategize and to just be in solidarity um so that is something that uh is exciting and also just touch on a little bit Michelle what you were saying is financial support is obviously really really really important but we're also trying to look at what are forms of non financial support and advocacy that we can provide so one of those is new for us it's called grantee voices it's a newsletter essentially but it's um uh we're sort of obsessed with magazine and the interview structure of bomb so we ask grantees to interview each other and then we transcribe and edit those interviews um and uh areola just participated in one of those that's coming out soon I promise yeah yeah no it's fine uh so um that's really about uh raising awareness and um trying to to introduce people and ideas and practices to to a wider audience and then we're also uh curating I guess is the right word I don't know we're having more public events at our office um and that is you know because we grant making the arts in the environmental sphere there's so much intersection between those um and we are trying to uh draw artists and environmentalists together to to learn across disciplines and also just to to to raise awareness um for people that are coming from um really difficult challenging situations and need a lifeline and networking is so important so we're trying to provide that sort of informal networking too thank you all so appreciate those answers um I'm going to ask one question then if we have a few minutes we'll open it up to everyone I was going to ask you all where you sort of thought some of the biggest opportunities lay that maybe you know or sort of um that any number of of folks in this ecosystem system could step into and also what you thought the biggest challenges were to working internationally right now some opportunities surface just among you already convening grantees thinking about ways to provide critical non-financial support um and also solidarity networks listening to grantees but throw some other opportunities out there and also if each of you could share like this is the big risk slash challenge that keeps me keeps me up at night um Sabah can we start with you again um biggest risk I'll start with that is um what has already been touched upon which is physical risk um I it does keep me up at night I worry about uh grantees doing this very brave work I worry about um my colleagues at the foundation and the risk that I am opening them up to I worry about um scaling the projects this wonderful work that our grantees do and putting at risk the the communities that they that participate in the project so I'm worried a lot but at the same time in this um very risky but rather fluid era that we're in there's also great opportunity and one of the things that we do that we made a decision to do in the program is to provide strategic communication support by engaging a community a communications company that actually um is the consultant to each grantee for the life of the grant period so um it teaches strategic messaging um and it's not just about writing press press releases that that they can do very well but actually strategic messaging and ways in which to amplify amplify their stories and to use the tools of larger networks to reach across the arts audience the the the choir as it were and another thing that we're doing is that inspired by our grantees and the communication support the program itself our staff of 1.7 uh people I know what's a 0.7 person it's um um our program associate who's um who is split yes um with another department she's shared um we um have actually taken on um the production with a production company of two videos two films two short films that are shareable and one of them um which is called a secret history of muslims in america um is an animation and it's going to premiere on a rather large platform in early december so um this is not a boast but it's actually to say that um we're finding subversive ways we're sort of ideas are like water they just flow over constraints which is the beauty of exchanges right and that indomitable human spirit that will be subversive and just um go around or over under constraints um that we see ourselves as advocates for the work for our grantees yes we bring the funding piece but we also bring our ideas and we we use we hope to use these videos as a way to really amplify our grantees voices and their work and reach communities especially in that purple zone um i'm not doing this but i'm excited by this moment of intersectionality um you know we were fighting for eight to ten years kind of building where we could have the intersection of art and culture and justice issues and finally criminal justice reform environment thanks to tambu reproductive rights everyone is now recognizing the power and the necessity of artists and cultural makers at the forefront alongside of organizers so that's my optimistic excitement um i'm fearful of the art market and its consumption have no idea how to address that and i'm scared by um the us lens and our limitations around race and gender normative realities and that dominating um how we continue to engage in the world and it's destructive um afraid of i feel like it's a little bit of what you all both said one um just continuing to be in this market driven extractive way of interacting with artists um and just on a personal level two very good friends of mine that artists passed away in the past week under 50 years old and i really attribute it to just yeah just like a basquiat situation you know where like how much more can we take from one person um and in order to engage and be successful which they both were prolific um but it what is it what is the toll that that actually takes on humanity at large really you know individuals but also humanity so really really thinking about how do we develop the different kind of relationship with cultural production that is also about surrounding people with support surrounding people with resources and not just monetary resources but also thinking about them as full people so i feel like that's sort of core to why i even do this work but it's it's um you know really um that makes me feel ashamed to actually be a part of the art world sometimes you know and so i'm really thankful similar to what you're saying that we are coming around to a different political reality and sometimes i say like maybe the silver lining of the global rise of fascism is that we realize that all of us have to participate in um freedom fighting all of us have to participate in um sort of coming together on on the sort of reality of where we could go which is why i think this kind of exchange is so important and we were um able to bring the Belarus Free Theater to do a production in our office which is appropriate because they're always working in garages and then you know these contexts where um you know audiences can sort of sneak in to see this work but it really was about how do we um have a moment of dystopic visioning to see where we are going right so that we can be conscious enough to either pump the brakes or get ahead of that and really fight on behalf of of freedom of expression and also on behalf of artists who are doing this kind of brave work and who are putting themselves on the very front lines of this kind of work so i feel like i'm in this moment of of both um terror and inspiration i think there's opportunity and disruption i think that this global climate that we're living in right now where everything is so interconnected and there's actually a time and space to be disrupted we're all disrupted the current moment and it forces us to reach out for each other it forces us to work collaboratively i think more um listen more deeply um and to um you know i i think as foundation staff people we're disrupted from our usual way of thinking about things and and our boxes that we get in and our assumptions that we make um we have to think more flexibly we have to think more uh more fluidly um and i think for for particularly for our grantees we're seeing intersectionality in the sense of we're seeing people reach out for each other and talk to each other across disciplines across geographic borders across cultural borders there's a again the word solidarity keeps coming up but there's a solidarity there that is um uniting people in a way that i uh i have i've been at the trust for mutual understanding 10 years and i haven't seen it like this before on the other hand i haven't seen it like this before and um the thing that keeps me up at night are faces people's faces um people's stories people that i care about people that i've known for a very long time this part of the world where where we work at the trust for mutual understanding is very dear to me i'm half hungarian my family lives in hungary the situation there is very very difficult so it's not just my family it's our grantees it's it's the staff it's my my colleagues like you said say i worry about them when they travel i make them um constantly check in with me when they're traveling i'm constantly checking in with them um so this is a really uh difficult time and i think when you care and are open-hearted uh it's going to keep you up at night right now simon it's 450 which is when we were supposed to end shall we okay we're gonna we're gonna take some questions and because our time is so short and we'd love to get a few questions in just gonna ask you to try really hard to ask your question in 15 seconds thank you yeah raise your hand if you have a question you will take it shy shy audience we've answered all yes thank you um maybe it's not a question you can actually answer right now but how are you incorporating this reality that we have 12 years left in your work yeah can i can i jump for a second so um the reality of the 12 years left is is very prominent in our work because we're actually we're making environment we're involved in environmental grant making so we actually the field scientists that are out in the Arctic and watching the ice melt are coming in and giving us reports and showing us photos and uh showing us videos of what they're seeing um so we are trying to balance our grant making in the sense of um for a long time we've been thinking about it there's the arts and there's the environment and we're trying not to think about it that way so much anymore and for a long time it was well 70 percent of our grant making is in the arts and 30 percent is in the environment and now it's um okay well 60 40 and we're working toward 50 50 but really what we're just trying to work toward is um it's not i'm not impact is not the word because we're a foundation that doesn't believe in measuring impact um which i know is a pretty rare thing but um urgency urgency and working and working together and working across sectors to tell the story because there's so much scientific data that we have but those stories aren't being told in a way that's motivating people particularly lawmakers so that's i would love to answer that um we're working with a question and a question was posed to us by our network theory coach and he asked um what ancestor are we in training to be and it really rocked us and so it's forcing us to think about our own selves how we love how we live in our work generations ahead and to find those characteristics and hone on those right now and so yeah i think it's important for all of us to think about um what are we in training for what are the ancestral qualities that we are wanting to leave with our children and grandchildren i don't think we can end any better than that so i'm going to give you back your your your time um or do we have one more question okay 15 seconds or less hi i'm claud grinitzky i'm the president of the watermill foundation and at the watermill center we've had issues obviously of artists who've had visas denied and so do you find that these very important foundations that you represent you're able to lobby the state department or the embassies or does it not affect anything ever because i saw nina murray was here earlier uh yes i could can you do some i mean is it possible for you to have some sort of sway anybody want to take that i would like to to answer um i'd like to give you an example of what one of our grantees did it's georgetown university and they had a project with syrian women refugees and they were opening their season with this um theater piece and they didn't get their visas so what they did is that they decided to Skype in um the the actors the syrian refugee ladies from um jordan from their refugee camp um and have the audience in the theater and so um they talked about the project and the difficulties and the challenges and then one of the um ladies asked why their visa was denied and in the audience i don't know if you were there that day nina but in the audience was a state department person representative um and uh the facilitator of the conversation turned to the to the state department rep and said please go ahead and answer the question and uh live they this person said it was just a bad day so uh that can be many things but um that was one kind of moment in which um this art center um you know actually turned a really um you know impossible situation over basically um not having um the work open to a conversation which got actually a lot more engagement not just with the audience but in terms of media and attention uh much more broadly in different um communities beyond just the art space taking my cue from you simon because nina do you want to answer yeah into the scrum which is also live there's no tougher job than answering counselor questions on live stream i applaud zenab and your group that found this solution it is difficult to operate within the constraints that the immigration law puts on us overseas you are unlikely ever to get the answer about why something happened because there is legal protection for the adjudicator the protection is there for their safety and also for the safety of the public all that said work with us early get in touch with us there's there's my retired colleague there in the audience as well especially if you're working with people with nations that with states that are sort of in the public view and in the political public view get in touch with us early get in touch with the embassy and have a plan b and also i know there is an ongoing effort uh with and with naa so it is also important to advocate domestically this is another thing that we cannot do we are an executive agency in terms of managing immigration and in that regard we do not advocate for changes in policy we implement the policy we rely on you to tell our lawmakers what is necessary so please do that shall we thank you so much this was a fantastic discussion and thanks to all of you you are so inspiring those we've heard from on stage and just our friends and colleagues in the audience thank you


The transition from custom-made applications as we were used to, to the ERP platform as well. Live from New York, it's theCUBE, covering Inforum 2016, brought to you by Inforum. Now, here are your hosts, Dave Vellante and George Gilbert. We're back to wrap everybody. This is day one, end of day one coverage. George and I are going to break down what we heard today. So this is the second Inforum that we've done. It seems to be that Inforum is on a cadence of every two years. Last Inforum was in New Orleans, New Orleans, and it was a great event, good sort of launching pad, and now New York City, a much larger crowd. I think I said 14,000 before, I heard 8,000. Oh, that's big, a lot of people here. We're seeing the evolution of Inforum, a company that's been around for a long time, was kind of frankly struggling decade ago, trying to figure out where to go. Charles Phillips came in, he brought in a new team. They had done a roll up of Lawson software, McCormick and Dodge. I think Infinium's in there somewhere, a number of others, and then started to invest with some backing from Golden Gate Capital.  That's not what's happening here. They're positioning it for an IPO, I suppose. Well, that's not getting a lot of play, not a lot of talk. There doesn't seem to be a big rush to do that. There seems to be more of a rush to transform the company, become relevant, compete in various segments, like retail, like manufacturing, you know, micro-segmentation of industries. We've heard a number of, sort of the wheel of industries and the micro-industries that these guys focus on. Going what Inforum calls the last mile of customization out of the box, so that you don't have to, as a customer, bring those modifications in. And it's, you know, we're talking about a $3 billion company, growing at a solid 10% a year, 9, 10%, but with licensing cloud revenues that are growing substantially faster in the mid-20s, throwing off cash, investing that cash in the business, making acquisitions, really going forward, particularly in retail, but other industries as well. Yeah, strong story, George. What's your take? Sort of just as positive as what you were saying, coming from another angle, though, the software or technical angle, where, you know, what they were doing, as you said, financially is unconventional, but sort of very, very compelling. What they're doing from a software architecture point of view is also unconventional and very, very compelling, which is traditionally when you buy a bunch of different software companies, it's very hard to stitch them together because they've been built in entirely different ways.  They're just architected differently. So what these, what Info has done is reconceived the applications around sort of what they call like a bullseye chart, where the inner core is the hardest part to change. And as you move away from that core to the edge, those are the parts that are easier to change.  And in fact, you know, it took Oracle like 10 years, and SAP restarted a couple times. Yeah, and SAP is essentially just starting over in the past year or so. So, Info is making incremental progress, starting with the user interface, starting with the next level in like CRM, then starting with say ERP, and then the industry specific engines in the back. And so, because these are all now deployable to the cloud, you can integrate each of these pieces. When they were all on customer premises, you had to support every version and every customization that every customer made. It was a mess, that was spaghetti code. Now when you do this incremental integration and you leave out for the end, the core hard to change engines, you make much faster progress. So, even if you have less skilled developers than an SAP or Oracle who are high end systems houses, you can get there faster. So, I think what they've done is something that we haven't seen in the application space. Yeah, and as well, you know, all cloud run on AWS, not trying to be the end-to-end solution provider in terms of owning the data center infrastructure. There's a lot of money to be made doing that, but Enforced said we don't want to do that, we want to focus, and then the other thing, I'd love to see in the ecosystem, I think, you know, it's young and immature, it needs to, you know, blossom, but they're putting effort into that. I'd love to see them take this Mongoose platform and open it up a little bit, but you know, our understanding is, I guess there's a reticence to do that, that it might, you know, weaken the story. I'm not sure I understand why, I need to think that through a little bit. I think we need to hear more about it. It seems to me that that would be a huge advantage and a lever and a multiplier, you know, a forced multiplier for the organization. So I'd like to see, I'd like to learn more about that, because I think that you're seeing so many great examples, well, at least some in the industry anyway. I think, you know, ServiceNow is an excellent example of a company that's got a platform that's very flexible, that can allow people to innovate and build on top of, and this is a company, ServiceNow, that talks about, all their customers talk about no modifications, no modifications, because coming out of the cloud, you really can't have a SaaS product with tons of mods. So, interesting day one, we heard about Infor IoT, which was kind of new, still a little bit unclear on exactly what that is and the details there. A lot of talk about digital transformation, you know, we're going to talk to Duncan and go off tomorrow about that. Big day tomorrow, Charles Phillips is coming on, all the execs, Stefan Scholl, who's the president, and really runs the go-to market, he's going to come on, we got customers coming on as well. Final thoughts, George? I think the last, the last guess we had had some of the most profoundly interesting things we heard. This is the company predictix that they bought to be the core of their new retail solution, and what he said has huge implications, not just for Infor, but for SAP and Oracle, which is customers can buy and implement the analytics solutions, the predictive analytics solutions, first, without upgrading their transaction systems. And that means just the way Amazon changed the entire economics of startups, now companies can change the economics of their IT investments, they don't have to replace with a new generation of their existing operational applications, they just bought the analytics on, and then it works fine whether you're using an old operational system or a new one. And one other thing, we've talked a lot as a consultancy as a research firm about all the intelligence going to the edge on IoT. Or much of it. Yeah, much of it. But what came out is that you are going to have a huge amount in the center because you look at data from all these different angles, and that's why when we heard from predictix that they're being designed to run on 10,000 cores for an hour or two hours or 10 hours, is something that gives them a huge advantage where a hybrid competitor who has to design for running on a 10 core machine or a 100 core machine can't match. So that, in other words, the predictix application can look at instead of just data points across a chronology, they can look at it x, y, z 10 different ways. And again, so major change in the economics and then this platform writing it for the cloud enables it to do things functionally that you can't do on-prem. Well too, I think differentiation is key, right? Because they're up against the likes of SAP and Oracle who as I said before, they'll basically co-opt all your messaging, steal that, and then look what Oracle's trying to do with Workday, you certainly see others doing Oracle in the cloud, SAP. Similarly, and so smaller companies like Info, they have to differentiate, they have to tell a different story. And so for instance, we heard from one of our guests talking about their human capital management story and some of the differences there. You're certainly hearing about this micro vertical industry differentiation, this notion of running everything in the cloud, so those are all good points. I think they got to do this event more than every other year, right? Because a key part of what Info has to do is keep getting the word out and this is a great way to get it out. So having a two year cadence on your big customer event, I think is missing a marketing opportunity. I mean, it's too good of an event. They should just keep growing it, put the pedal to the metal and go. So I'd like to see that, but generally strong messaging out of day one. We're going to hear more tomorrow, more announcements. George and I will be back. Check out crowdchat.net slash inform16. Go to siliconangle.com for all the news, siliconangle.tv. We'll have all the videos today chopped up. Check out at theCUBE for all the stuff. theCUBE gems, the tweets. Okay, this is theCUBE. We're signing off day one from Inform 2016. We'll see you tomorrow.


We are going to cover an important topic I would consider that this is the most important topic in today's analog electronics the reason will become obvious to you as we go. Let us therefore start with what we have done in the earlier lecture 26 lecture Q enhancement the passive RC using negative and positive feedback was the topic of discussion because the passive RC network was using low Q block because it cannot increase the Q above half that we had shown how to improve the Q above half for a variety of designs that we require in filters. So that was the topic then effect of the most important parameter of the active device whether it is op amp or transistor is the gain bandwidth product in the case of transistor it is GM by C product so which actually gives the quality of the active device. So what is the effect of this active parameter on the performance of the filter that was also discussed in the earlier class we had started with low pass passive RC second order and using negative feedback with the inverting amplifier of gain K obtained omega naught the normalizing frequency of the second order system as omega P the normalizing frequency of the passive filter which is for R1 equal to R2 equal to R and C1 equal to C2 equal to C is 1 over RC into square root of 1 plus K, K is the gain of the inverting amplifier Q active is going to be Q passive which is equal to half for equal resistors and equal capacitor situation at most are in actual practice right if you do not use a buffer stage between D2 passive networks it is 1 over 3 into square root of 1 plus K. So this is the enhancement of Q by a factor of root of 1 plus K that was achieved through negative feedback and then starting with the high pass passive RC second order the same negative feedback situation in the embedded system resulted in omega naught being equal to omega P which is 1 over RC divided by square root of 1 plus K, Q active remain same as before Q passive into square root of 1 plus K both low pass plus high pass resulting in a notch output in the passive RC if used in the same embedded system with negative feedback using inverting amplifier of gain K resulted in omega naught remaining same as omega P which is 1 over RC and Q active becoming equal to Q passive into 1 plus K QP. So band pass passive filter RC passive feedback band pass if it is taken as the basis of the passive filter network RC network then in order to achieve Q enhancement to decrease the coefficient of S one has to resort to positive feedback and use a non-inverting amplifier of gain K then omega naught again remains same as omega P which is 1 over RC Q active is equal to QP by 1 minus K QP. So low pass plus high pass with negative feedback or band pass with positive feedback we have omega naught remaining same as omega P only the Q is enhanced. So this seem to be ahh sort of possibility of independent adjustment of omega P and Q which is required in design of filters. However the band pass filter with positive feedback results in ahh high sensitivity to K as far as Q is concerned because K into QP has to be pretty close to 1 in order to make the gain Q get enhanced. So that is the only disadvantage of this positive feedback situation so it is normally used for low Q applications. Negative feedback it has low sensitivity to K but sensitivity to gain band product ahh is high that is it is sensitive to the DB in the case of ahh ahh third technique that is negative feedback with notch the sensitivity is pretty low even to the gain band product even for 4 the sensitivity is low because K required is itself low for high Q realization. So independent Q adjustment and omega naught adjustment not possible in the case of negative feedback low pass prototype we had seen that Q gets enhanced by QA divided by N-QA into total phase lag error in the loop okay. So that means actually in ahh the earlier situation we had seen that this is equal to okay nothing but 2K since we used ahh gain of 2K for the inverting amplifier stage so the phase error was 2K into S by that is GB which resulted in omega naught by GB as the phase error into QA. So that is the net phase lag error in the loop so that cost enhancement of the Q by this much. So we have to select the gain band product properly in order that this quantity is very small compared to 1. Let us say F naught into QA product is a criteria for ahh low sensitivity to GB of QA. QA into delta phi should be much less than 1. In the case of ahh high pass feedback this becomes plus because there is a phase lag of negative value that means phase lead error okay. In the case of notch there is 0 phase error. So this is the easy technique to remember how ahh GB determines the Q enhancement in these feedback enhancement techniques. Now let us start with state variable filters. What are the state variable filters? These are popularly ahh filters derived starting with state space synthesis techniques. These are also known as by quad filters double integrator filters, KHN filters, Kerwin, Heelsman I think in this one yes. Newcomb filters universal active filters they are manufactured as universal active filter blocks even in IC design this is a basic building block of filters in VLSI analog VLSI. So we have to study in detail about the synthesis technique as well as understand the performance of these filters ahh starting from synthesis. Active filter design as a solution of differential equation that is some topic that has been taught ahh as early as tube electronic days when analog computer was there right. So this has the origin with analog computers what are these analog computers. The present students may not know about these computers existing as a tool for simulating ahh differential equations linear or non-linear and that is a system design concept which used to be used for by analog people as well as aeronautics and mechanical engineers in simulating their ahh mechanical electromechanical systems okay and ahh it was common practice to use this tool called analog computer what they it comprised of it comprised of integrator blocks and summing blocks and multipliers. So it used to have these as the blocks integrators summing amplifiers and multipliers. So resistors and the capacitors form the integrators okay summing amplifiers multipliers are the necessary blocks of the analog computer. It used to be a full-fledged course in ahh electrical engineering particularly in control systems for ahh control system simulation it used to be used often. Later on with transistors the size of the analog computer came down drastically and then ahh the op amp was the block that was used as the active device for building all these blocks. So today op amps ahh IC op amps are commonly available and cost of this analog computer has come down considerably but it no longer exists as an IC it exists in the form of universal active filter block. So let us see how synthesis can be done of such filters n-th order differential equation means synthesis of nth order filter. So we have a nth order differential equation linear differential equation written in terms of output voltage and input voltage. So this is the nth differential of output voltage ahh and this is the input function. So these are the n-1 states which can be derived from the nth derivative using n number of integrators. Then this equation can be written with the highest order differential on the left hand side and rest brought to the right hand side this way. And what does it say if you have the highest order differential then n number of integrators can result in the n-1 lower state variables derived from the nth derivative and to that if you add VI appropriately by selecting appropriate coefficients that becomes equal to the left hand side that is circuit wise once you have a ahh differential and derived n-1 states you can sum up all these including the input using a summing amplifier and feed it back to the input that circuit realises the nth order differential equation. So this used to be thought systematically in the earlier electrical engineering courses and this equipment was part of most of the control labs control system labs. However with the advent of digital computers all these simulations went over to digital computer and this course was removed from the curriculum unfortunately. However circuits electronic circuits it has become an integral part of one of the topics discussed however this must be also becoming part of any common basic electronics course lab. Let us therefore see how first order filter can be synthesized with this approach dv naught by dt plus k naught v naught is equal to ki vi is the first order differential equation in output voltage and input voltage this is now written as the highest differential dv naught by dt and one integrator will give you if the input is dv naught by dt integration will give you v naught here. So minus k y naught is got by the summing amplifier adding a suitable sign plus ki vi we have vi and coefficient ki summing so this is nothing but dv naught by dt that is by closing this here you are actually simulating this equation. So this is a loop feedback loop that comes into existence in order to solve this differential equation. So we first assume that this exists and obtain the lower ahh differentials by using integrators and summed up all these along with input and got the output and then fed it back. So this if you realize using ideal integrators and summing amplifier using op amp let us say you can get this characteristic at one of the outputs okay low pass and this is high pass. So actually you can see that this output is going to be high pass and integrated will result in low pass. So this is the high pass output integrate you get low pass first order high pass and first order low pass are got as outputs of summing amplifier and the integrator. So that is simulated using ideal integrator and ideal summing amplifier and one gets the characteristic like this. This can be shown to be ahh first order but over filter with cut off frequency either for low pass or high pass same point that is why it is 0.707 times this 1 the transmission here is 1 is also 1 and this is at 0.707 that occurs at roughly 1.59 for the values of ahh time constants that we have chosen 1.59 kilohertz. So this is the plot this is the op amp realization of the same thing integrator R and C. So the ahh integrated time constant is if this is V0 this will be – V0 by SCR okay this is adding VI to it. So we have here inversion – becomes plus V0 by SCR – K0 into VI at this point this is V0 is equal to 1 inversion so – V0 by SCR plus K0 into VI that is the output V0. So V0 is equal to 1 plus V0 into 1 plus omega 0 by S omega 0 being 1 by RC. So this is equal to K0 into VI so V0 over VI becomes K0 S by omega 0 divided by 1 plus S by omega 0. So that is ahh high pass filter function here it is getting multiplied by – omega 0 by S that means at this point one gets – K0 by 1 plus S by omega 0. So this is nothing but low pass filter function. So these are the ones which are plotted ahh in the ahh characteristic that we have just now seen okay. Next let us try to do the same thing with a second order system. So now we are starting with D squared V0 by DT squared. So we have that this is therefore 1 over RC okay DV0 by DT integrator that is the ahh time constant that determines this integration. So it is a positive integrator. So then we have here 1 over RC squared into V0. So this is going to be summed up here with – K1 here okay. So D squared V0 by DT squared plus K1 DV0 by DT plus K0 V0 is equal to KVS same as before the first second order differential equation. This is the highest differential these are requiring two integrators to obtain the lower states. So D squared V0 by DT squared is equal to – K1 DV0 by DT – K0 V0 plus KIVI is what is done by the summing amplifier and that is equal to V0 itself that is D squared V0 by DT squared itself okay. So we get that by connecting the output to the input feedback. So the procedure for any order is the same. So let us see how this is when simulated okay using ideal integrators and then summing amplifier results in only for the summing amplifier and op amp ahh summing amplifier is used other two are ideal integrators. So we have the output now low pass. So this is going to give you high pass here this is going to be band pass once integrated low pass in the second order. So if this is V0 let us say 1 so this will be DV0 by DT 1 over R this is actually in terms of S domain nothing but SCR into V0 1 this will be V0 1 by SCR square double integration. So and this output V0 1 therefore is equal to the – K1 times this – K0 times this – KI times that. So we will get here okay the summation of actually SCR square SCR okay into V0 1 to V0 1 plus KI into VI which will result in V0 1 by VI equal to KI SCR square which can be written as S by omega naught square divided by S by omega naught square plus S by omega naught Q plus 1 if you collect all this coefficient where omega naught is equal to 1 by RC and it is the Q which is determined by K naught okay it is 1 over K naught okay is the Q and this is what is simulated using ideal integrators and summing amplifiers using a PAM we get we design the thing at F naught equal to 1.59 for a Q of 5 and this is what is shown for the Q of 5 can see this this is nothing but the low pass goes to 0 as frequency goes on increasing very high compared to F naught at F naught it resonates so that is why it peaks at F naught okay and goes peaks slightly at lower frequency than F naught okay and because it is low pass and as far as band pass is concerned it peaks at F naught exactly that is the resonant frequency. So this is the band pass and this is the high pass goes to again a constant value at very high frequencies starts with 0 at 0 frequency that is the green color. So this is the high pass this is the band pass and this is the low pass characteristic that is at this point it is peaking and the gain is H that is K I into Q okay that will establish later when we consider these individual transfer functions. So gain go back here this is the point high pass is got this is the high pass integrate once you get only S by Omega naught naught square because this Omega naught by S is the transfer function. So this becomes band pass again integrated it becomes low pass this is the phase characteristic of low pass starts with let us say zero phase right goes on to 180 degrees at exactly this point there is 90 degree phase shift in all these things right only thing is additional phase shift of high pass to low pass there is 180 degree phase shift right. So you have that but phase variation is similar determined by the denominator polynomial numerator has a constant phase. So all the phase variations are remaining the same as determined by the denominator polynomial which is common to all the three. So band pass right you have this phase changing okay again this way okay. So this is actually I think 180 degree phase shift for the band pass according at Omega naught you can see either zero or 180 degree. So in this particular case it is 180 degree phase shift right and then the high pass and low pass are going to be 90 degree lag or lead around 180 or zero. This is the transient response this shows you that the transient response remains the same okay for a step function of voltage okay. So 100 millivolts step is given and that causes the thing to ring and the number of peaks countable the same method that we had adopted earlier in amplifier design as well as in filter design that you count the number of peaks one up to one tenth this way peak. So you have five peaks which are countable indicating Q is equal to five. So the outputs remain the same in terms of ringing whether it is low pass high pass or band pass indicating the characteristic equation is the one that determines the ringing this is the realization using op amps. So we have the first integrator followed by the next integrator with a summing amplifier this is what is called the Q determining loop this is known as one integrator another integrator a third inverter forming a loop. This loop is called a resonator block because if you disconnect this the facility for adding dv naught by dt in the equation is removed that means it is something that contains only d squared v naught by dt squared plus k naught v naught if you do not have vi also added if you break this loop here equal to zero what is this there is nothing but a harmonic equation solution of this is nothing but a sine wave right this v naught is equal to some a sine root k naught into t. So it produces a pure sine wave it is a resonator block okay just see this this is making the Q of the system infinity if you remove this connection and not have input fed okay input is grounded then this alone simulates this equation this squared v naught by dt squared plus k naught v naught equal to zero which is why this is called a resonator block this is called the Q forming loop. So it just adds a coefficient of dv naught by dt to this that is all that K1 this the RK1 that determines the Q this is Q times R if you put that determines Q. So now this has been designed for 1.59 kilohertz as f naught and Q equal to 5 is the characteristic this is what we had seen earlier with the ideal integrators also this is the op amp version this is the band stop filter. Now all this simulation op amp has been given a model of just a voltage control voltage source of gain equal to 2000 that is all as far as the integrator op amp are concerned and the Q forming loop op amp only the summing amplifier is having the realistic op amp so that it can quickly simulate all this in terms of simulation time etc it takes the least amount of time okay. So this is the band stop filter output available at this point this is band stop will exactly give you the transfer function derived okay later Q is 5 and now this is the phase plot and since the phase plot for all the other outputs also other than the notch remain the same as the other plots except the point at which it starts okay is going to be different for different outputs okay they are all going to be quadrature difference that means 90 degree different okay. So now this is for Q equal to 1 this is for Q equal to 5 this is Q equal to 9. So that one resistance that determines Q is changed from 1K to 5K to 9K and one can see how rapidly the Q varies this we had derived earlier the slope here at F naught for phase variation okay delta 5 by delta omega we have shown around omega equal to omega naught is equal to okay minus 2Q by omega naught this we had shown earlier for a second order system okay that means slope at this point depends upon the Q as Q increases the slope increases this fact about Q variation around F naught is the one that is used for tuning of filters. So a phase detector can tell exactly what the phase is on this point and thereby we can tune it exactly to F naught okay. So you can just see this that delta omega from this is equal to okay minus omega naught by 2Q okay into delta 5 that is a phase detector okay if high Q system is used a phase error of 1% for a Q of 10 is going to be detected as one tenth okay that means higher Q circuits you can see the frequency deviation more accurately with the phase detector using this principle. So please remember this later when we would like to tune the circuit to exactly a specific frequency phase detector is to be used. Now this F naught is equal to 1.99 Q equal to 5 the transient response you can see the 5 peaks this simulation also. Now what is done here is that input of a square wave at F naught is fed the filter is having resonance occurring at F naught and these are the different outputs okay this is the output corresponding to the notch. So the square wave comes without the fundamental because it has been tuned to F naught and F naught is the frequency at which the square wave comes the fundamental is removed okay because it is peaking at F naught. So the fundamental component is removed that means square wave minus the fundamental is like this. Please remember that you have studied this for the square wave of VP the fundamental is 4 VP by pi that means fundamental amplitude is more than that of the square wave. So if you subtract this you will get it as just this this will be reverse this will be reverse like this. So you get this kind of thing after removing the fundamental. So this is exactly tuned to the incoming frequency of naught and this is the fundamental component which predominantly appears because it has a Q of 5 that means it is peaking with again of H naught into or Ki into Q right Ki is same as H naught that is okay the center frequency gain is H naught or Ki okay into Q the low pass frequency low frequency gain is H naught high pass high frequency gain is H naught and at omega naught gain is H naught into Q that we will see when we look at the transfer function later. So as far as the high pass output is concerned there is this sharp increase so it cannot remove the harmonics this is the effect due to the odd harmonics present in the square wave. So summation of effect of all the odd harmonics is a jump whenever the square wave jumps there is a jump you can see the square wave jumping that is it produce both at the notch as well as the high pass and that is removed from low pass and band pass because band low pass permits only the fundamental and all the harmonics are removed and band pass selects only the fundamental okay so this is the thing this is the low pass and this is the band pass they almost look alike except for a phase difference of 90 degrees and between the low pass and the high pass also there is a phase shift of 90 degrees okay. Simulation of second order filter with op amps at 15.9 kilohertz so the frequency is increased to 15.9 from 1.59 10 times Q remains the same. Now you will see the effect of the gain measured product this will quantitatively determine in the next class however you can see this difference the frequency is almost the same 15.9 kilohertz from 1.59 10 fold increase however the Q into H naught or Q into Ki Q is 5 this should have been 5 whereas it had remained 5 when we worked at 1.59 now it has changed over to 6.658 does it change why should it increase like this and the notch should have been 0 but there is 338 milli that is it should have been 1 at low frequency and high frequency and it should have been 0 at this point whereas there is a transmission of 0.338 occurring here why does it take place is what we are going to see in the next class right qualitatively. Now you can see the effect of the Q has got enhanced that is what we saw in H naught into Q effect in the frequency response it has gone to 6.6 now here the Q is showing 5 peaks as we saw earlier at low frequencies it is showing 1 2 3 4 5 6 almost 7 peaks okay so the Q has got enhanced a third order filter same procedure can be extended for any order but you will see why this kind of extension using this kind of methodology is not recommended for higher order filter design and how higher order filters can be designed using cascading of second orders and first order or only second orders right it is safe. So however I am giving you a procedure the third order differential is dependent upon the rest of the states this way you put all these things on the right hand side along with the input just as before and use 3 integrators to get the lower states from the third order okay you get the lower states dv naught by dt square rc 1 by rc square dv naught by dt 1 by rc cube v naught. So you sum up all this k naught k1 k2 and ki for vi using a summing amplifier like this as before and get the output connected to the input which is solving the third order differential equation that is simulated. Now we design a Butterworth filter using that actually k1 and k2 are appropriately chosen so that the coefficients here are 2 and 2 okay. So that is design third order Butterworth these equations are given in any book on filters or circuits and not circuits the third order normalized Butterworth design. So that is simulated and you can that is done for same frequency 1.59 hertz maximally flat magnitude response both for low pass and high pass this is the high pass output as before this is going to be the low pass output. The op-amp realization involves 5 such op-amps in one loop and the other additions take place using this. So we have here 1, 2, 3 integrators and the summing stage and the final inversion for the negative feedback. So this is the characteristic using op-amps as the summing amplifiers and when we increase the frequency from 1.59 to 15.9 you can see the high pass getting distorted considerably the distortion in low pass is not visible it also is different from the theoretically predicted value. This is because of the effect of gain mandate product which we are going to investigate in the next class. So this is the realization that is when the same third order filter is realized using the above technique earlier mentioned technique with the frequency shifted further from 15.9 up to f not equal to very nearly equal to 186 kilohertz close to the gain mandate product of the op-amp the maximally flat changes to this kind of ripple within the pass band indicating the effect of a higher order system this is one first order low pass and this is a second order low pass characteristic combined giving the third order effect because of the gain mandate product. And one can see that if you cascade second order with first order it almost retains the general second order response of just peaking once okay. So this is the effect of a second order itself right even though the effect of gain mandate is seen as increased Q okay for the second order so the peak is increased otherwise it should have been maximally flat. So these are the observations one can make higher even other filters can be realized by cascading second order filters higher order filter is realized using cascading first order with second order this is the easy method of design that is why the second order universal active filter is a basic building block in most of the filter designs and it is available as an IC later on identify the ICs that are available as these building blocks. Direct realization greater than 3 using op-amps will lead to inferior performance due to the cumulative phase error in the feedback loop. So this is normally avoided in most of the feedback loops higher order outputs at different points in a second order filter. So let us now go back to the original circuit with 3 op-amps in a loop W integrator loop and we see V0 1 by VI this is what we had derived earlier is the high pass filter H0 into S2 by omega naught squared divided by S2 by omega naught squared plus S by omega naught 2 plus 1 high pass filter okay. So this is the characteristic that we had already seen and it is close to 5 you can see at 1.59 this is 1.6 kilo hertz and it is becoming equal to 1 at very high frequency this is the high pass output. So H0 is equal to 1 in our circuit that we had shown earlier H0 is equal to 1 H0 is same as Ki. So this is same as this this is Q times R that Q has been adjusted to be 5 and this is same as this makes Ki equal to 1 or H naught equal to 1. So that is what has been chosen in this characteristic so that is depicted here this is H naught into Q 5. So it fits with the theory exactly this is the band pass filter output can see that characteristic is speaking at exactly F naught which is 1.591 and H naught into Q is 4.949 same as what we have expected and it goes to 0 on either side this is the characteristic of the band pass this is the low pass H naught by this and at frequencies low frequencies it is H naught which is 1 in this case at omega equal to omega naught it is H naught into Q that we will see. So this is nearly equal to 1 and this is going to be 1.569 slightly reduced to because of the low pass action it is speaking is always at a low frequency than omega F naught okay for the high pass it is slightly at a high frequency than F naught only for band pass it is exactly at F naught. So these are the observations that we have made as far as notch is concerned okay this is the output at the 4th of amp okay and H naught into 1 plus S squared by omega naught squared indicating 0 transmission at omega equal to omega naught A i is equal to 0 because of this and it is supposed to peak the peak is killed at that point okay because it is getting multiplied by 0. So normally something that was speaking at low pass high pass band pass that is suppressed because of the 0 of transmission. So the high Q filter has a 0 of transmission and it becomes like that means with increasing Q it is going to be like this this is what we will see here. So this is for Q of 5 and if you increase the Q further later on see that it is going to become narrower and this point at which the transmission should be 0 is not exactly 0 is about 12 milli that means this is 1 this is 0.012 okay transmission so it is not yet gone to 0 why it has not gone to 0 is something that we are going to investigate because of the active device finite gain or gain menu product. So both effect this 0 okay and this has gone to nearly 1 994 992 on this side so that is the notch output by adding V naught 1 to V naught 2 and V naught 3 V naught 1 is high pass this is high pass this is V naught 2 is band pass with the negative sign this is the low pass. So alpha 1 is positive alpha 3 is positive alpha 2 is negative you get A S square plus V S plus C you can make add it as positive or negative or 0 depending upon which output you take and add okay and we can locate the 0 of this polynomial anywhere on the S plane whereas the poles are always located on the right half as Q is positive okay and therefore pole in the S plane the poles of this system will always lie on the left half plane okay as complex conjugate pair or on the negative real axis but the zeros can lie anywhere on the S plane as complex conjugate pairs okay or on the negative or positive real axis. So that is the facility of a generalized synthesis and for example of all pass filter design requires that what is null pass filter the magnitude of this should remain independent of frequency that means it should be equal to H naught at all frequencies so and only the phase should change. So for that it is enough if you make the odd ones have negative polarity as for the coefficient is concerned compared to the denominator. So that means if the poles are like this on the left half plane for stability you have to have a pole always located on the left half plane zeros can be just mirror image of poles that is the pole 0 location for an all pass filter always any order right you might have the poles like this then the zeros should be exactly like this mirror image this is for higher order is for the second order it is like this. So then magnitude is H naught at all frequencies phase is going to be contributing lag here by this much amount and another lag by this turning to minus. So minus 2 tan inverse omega by omega naught 1 minus omega by omega naught square and if you actually obtain the delay function delta phi by delta omega minus okay that will be actually maximally flat that maximally flat delay function type of filters are called Thompson's filter this I had mentioned earlier okay and that maximum flatness occurs for a Q of 1 by root 3 for a second order system that you can prove by taking delta phi by delta omega and making it maximally flat.  So you have to for maximum flatness the coefficient of omega squared by omega naught squared should be same as that of the numerator so 1 is equal to minus 2 plus 1 over Q squared or Q is equal to 1 over 3 that is the Thompson's filter. So this is an all-pass filter design that gives you only delay and it is used as a delay compensating mechanism right it does not affect the amplitude it only affects the phase. So this is the phase characteristic for Q equal to 1 Q equal to 1 is amplitude character will be constant h naught 1 throughout. So in conclusion we have covered systematic method of synthesis of state variable filters and we have obtained the circuit of what is called universal active filter block. Why is it called universal active filter block? It is a double integrator block or a resonator block with Q forming loop separately okay by taking the combination of low pass plus high pass plus band pass outputs available one can formulate any second order system with specific omega naught and Q which is sufficient to derive any nth order filter okay required for any application that is why it is called universal with facility of one more adder one can add this alpha 1 alpha 2 and alpha 3 kind of outputs and obtain a generalized second order system with zeros located anywhere on the S plane and poles located only on the laptop plane as complex conjugate pair or on the negative real axis which obtain stable filter systems for use. Also seen that if Q of the resonator block is Q of the system is made infinity it becomes a double integrator oscillator which oscillates at omega naught that is why it is called a resonator block or a double integrator loop. So in the next class we will see that this double integrator loop is really similar to inductor getting simulated across the capacitor forming a tank circuit just like the inductor simulation filters right. So it is no different from the inductor simulation circuit that we are discussed earlier topologically it looks different from the garter this will be established in the next class. Thank you very much.


Hi everybody. Happy Thursday. I'm Joe for jasphyscasebrakes.com coming at you with jasphys five box free agent frenzy It hasn't been a frenzy hasn't a free agent frenzy basketball mixer random team number three 30-spot break everyone gets a random team in the NBA no veteran commons or vet-based ship a lot of nice boxes in here though Including that breaking big. Thanks everybody here Thanks to the people who bought their spots straight up and congrats to the people who won their spots in that filler break There's all 30 teams in let's do it. Let's roll it. Let's randomize it six into two eight times for names and teams one two three four five six Seven and eighth and final time After eight we got Sean O'Leary down to Sean Six into two eight times for the teams one two three Seven and eighth and final time after eight. We got doubles Down to the New York Knicks All right Sean with the bulls Nancy with the heat Sean with the buck Stephen with the Sun's Michael with the Nets Sean with the Nuggets Andrew with the Hawks hung with the Sixers Gerald with the Thunder Randy with the Raptors with a last-bought mojo star next to your name 70% of the time last-bought mojo hits 100% of the time Sean with the spurs Mike with the pistons Sean Oh with the magic jazz and clippers Peter with the Pacers Mike with the Timberwolves Zane with the Rockets Cliff with the Gris Sean with the Mavs Michael with the Kings Mac with the Blazers Sean with the Pells Jer with the Celtics Summon with the Wizards Mike with the Warriors Sean Oh with the Hornets and the Cavs Brandon with my Lakers and Sean Oh with the New York Knicks it's alphabetized by Team and we're gonna pause the video and allow give people a chance to trade if they'd like And when we come back, we'll see if there's any trades and then the break itself stick around. We'll be right back All right. Welcome back everybody No, no trades not even a whisper of a trade It's all good. Let's get to it on Thursday the 5th It's our free to frenzy basketball mixer. Thanks everybody for making this happen. I appreciate it Let's see what we can what kind of magic we can we can pull out of here Start with 1819 Chronicles retail packs. Obviously we're looking for guys like him Luca Donchich Deandre Aten of course is pretty nice Deandre Aten for the Suns rookie card going to Steven K See a lot of people get these uh these Chronicles rookie cards graded They grade out nice could go for a lot rookie Luca Donchich same with Luca of course Dallas Mavericks Sean With the essentials triple J Kevin Knox And oof the luminance design Looks really sharp Luca luminance for Sean right next We've got a Michael Bridges flipped around A Michael Porter Jr flipped around All right, nice not too shabby there. So we've got another Deandre Aten rookie card for Steven K got the bronze Parallel luminance design a Deandre Aten for Steven K and the Phoenix Suns And a Michael Porter Jr Marquis design bronze parallel Which I think it's exclusive to these uh To these retail packs All right now. Let's get into I guess we'll save the the 2021 boxes Let's just go in uh Chronological order will go 1920 mosaic fast break until you're looking for those uh those disco parallels and whatnot So what other uh, what other free agent frenzy frenziness has been happening A lot of things have been happening. Sixers agree with Danny Green on a two-year 20 million dollar deal Nick's extend Julius Randall for 117 million dollars Andre Drummond Joining the Sixers in free agency Becoming a backup to longtime rival Joellen Bede interesting Be a good fit for uh for Andre Drummond Back up Joellen Bede a little bit Keep him fresh throughout the uh throughout the season and the playoffs I don't know if Andre Drummond really fit with the Lakers, but Might be better in in Philadelphia What else has been happening? Wizards end up gets in witty In a sign-in trade a lot of player movement, which is which is what makes the basketball off season pretty exciting George Hill to sign with the Bucks Hornets considering offer sheet for Laurie Markin And I still feel like we have to wait a little while to see To wait for all the all the big all the deals to get done and see how everything how the dust settles Let's see what we got in this mosaic Good luck everyone We've got a Jared Culver Rookie fast break parallel It'll be for Mike in Minnesota Cameron Johnson rookie Pretty great at times in the playoffs Townhorn Tucker back with the Lakers. I think he's got a lot of upside I'd like to see him get some more minutes. Maybe take the next step in his game Sort of a longer term project, but it could be interesting to see Brandon with Townhorn Tucker and uh, Stephen K with the Suns gets the Cameron Johnson We've got a blue John Stockton for the Jazz 52 out of 85 That will be for Sean in the second half here Monsieur Little I feel like maybe with the new additions on the bulls that could help Kobe white The upcoming season had a good rookie year a bit of a down second year Maybe we could shine again in his third year Got international men of mastery Luca Doncic There's NBA debut John Morant For the Grizzlies that's going to be for Cliff For the Grizz And for the Suns Gail Goodrich fast break autograph Stephen K with the Suns Multiple Sun He's Zion here. It's Cam Reddish disco parallel That's for Atlanta Andrew or Ron James Lakers Brandon Got an RJ Barrett teammate Julius Randall And we got a Kemba Walker purple to 50 And there's a John Moran another NBA debut RJ Barrett Part of that upstart Knicks team Here's John Moran again. It's pretty good There's Kemba Walker Celtics addition for Jer RJ Barrett Knicks Sean Oh with the Knicks I like to see him continue to improve Knicks being Knicks basketball being good He's good for the hobby Big team big market Could be huge. All right, let's get into some 2020 2021 stuff. Here's clearly Daunris Autograph possibility not guaranteed each box but a possibility Really nice parallels too on these acetate cards Here's Giannis There's purple parallel RJ Barrett The nice Tyrese Halliburton Isaiah Joe rated rookie gold precious at Shua Trey Jones And what's going on in that card there? So first of all, I got RJ Barrett Tyrese Halliburton for the Kings is pretty strong Michael Robinson with that Tyrese Halliburton Giannis champion that was good for the hobby And we've got a Lamello ball Zion Wilson Luca Donchich card here Rated rookie card It's a randomizer. It's pretty nice. This must be short print. I feel like I've I feel like I've never seen this Insert one happy person two sad people We'll randomize at the end. Good luck. All right, let's get into some prism fast break current edition What are the anyone know what the Mavericks are doing? I feel like I thought they'd be a lot more active with some of the bigger names During this free agent window, but I feel like they have really Done anything too crazy On hoops rumors.com the Mavs are among the teams interested in the clippers for nickel of a tomb before you sign Resigned with the Lakers or with the Clippers that is Mavs of Mavs have officially announced the promotion of Michael Finley to assistant GM and slash VP of operations We'll see what the we'll see what the Mavs are up to Solomon Hill signs a one-year deal The martyr rose and apparently was meeting with the Clippers before he decided to go with the bulls Wow, Joe Christian saying that trio card is a $500 card now it doesn't surprise me because I think those are those got to be really short print. I haven't seen anything I haven't seen that we've been we bust when clearly came out I feel like we did a lot of cases that I feel like I didn't see that Let's see what we got in here Good luck A lot of hoops action happening here You got Tyrell Terry Jalen Smith fireworks the honest ante de compo.  He's up with the lamello That d'Angelo Russell blue to 175 Minnesota That'll be for Mike G and the timber wolves Devin Booker fireworks Patrick Williams rookie Mo Bamba to 175 Mo Bamba for Orlando. That'll be for Sean Oh the Patrick Williams base rookie for Sean And the bulls and the Yanis bucks Also for Sean Tyrese Halliburton Kings Michael Robinson and Kelly over a junior fast break autograph for Phoenix Stephen K with the Suns Michael Robinson gets that uh Tyrese Halliburton the wide screen Zion Williamson We'll go to the pelicans Sean Like that disco parallel there too blue coming up blue JJ reddick To 175 pals another one for Sean Anthony Edwards Nick Richards purple to 75 That's for charlotte JJ reddick for the pelicans and your number one overall pick Anthony Edwards for Mike Krasinski And the Minnesota T Wolves more parallels left. Let's see Dewayed Flynn Yanis downtown disco And a nick Richards. I thought it was going to be a lamella for a second. Nick Richards 99 out of 125 No offense to nick Richards. That'll be for Sean and the Hornets downtown disco Yanis also for Sean And there's Aaron Gordon and Josh Jackson all right So in the team all addition of prison basketball, there's blue wave and gold wave prisons Gold wave is the shorter printed one right there. Let's go Kyle, I don't understand your question. Did you do all of these boxes random teams for 99 dollars? Yes, yes, I think I get your question. Yeah, this was 99 dollars a team for these boxes Kyle saying that's nuts lots of value and opportunity respect some of these other bigs have wild prices Are you saying we could be charging more? Big thanks to Kyle Benson We'll be sure to increase our prices because of him Thanks, Kyle Benson everyone say thanks Looking out for jaspy's profits. Love it. We'll double the price next break We've been underselling ourselves. We've been losing money terrible. Oh There it is high Reese maxi gold wave Obviously the blue waves are are a lot more common Gold wave is sort of printed Nice sixers That's for hung With this Philadelphia 76ers very nice There's a rookie blue wave caches winston zoom in with the wizards Kyle says we could but let's act like you didn't say that. Oh, I I wanted to give you all the credit, man He was doing some price comparisons realize we were wildly underpriced We'll be sure to we'll be sure to raise prices on the next mixer. Nice. Isaiah Stewart silver We've got to recoup losses from this right Say a steward silver Detroit Mike Krasinski and Tyler hero blue wave PJ washington silver and Kyle kuzma Koo's a fan favorite here, but just just didn't cut it. I forgot there was football on tonight too. Cowboys add Steelers Hall of Fame game It's on big fox Channel 11 out here in LA. All right, so Steelers up nine three Four minutes left in the third quarter. I guess I didn't really miss much. All right First one out of the gate feels like a graded card. It is Nice 2017 panini Donner's basketball Donovan Mitchell rated rookie It's a bronze parallel right there too PSA nine jazz Sean O'Leary Always nice to get already graded stuff added to the collection Makes life a little easy Next graded card is wow. That's pretty nice It is hard to get a 10 on die cuts That's 2019 panini contenders basketball superstar die cut RJ Barrett rookie RJ Barrett PSA 10 With so many corners and edges and points on these It's hard to get New York Knicks Sean O And the third and final card in here Is gonna be LeBron James nice 2003 skybox Skies the limit insert LeBron James PSA eight That's pretty awesome Rookie LeBron James Looks almost looks kind of skinny there It's built on a put on a lot of muscle over the years calves Sean O Cleveland.   Oh, I gotta randomize this Big card right here too. I almost forgot about this Um, unless are they all the same person?  I think Joe Christian was saying It's like a $500 card Give or take Maybe close to the season could that that valley could creep up as well. I'm Joe for jaskiescasegrades.com Thanks for watching. Thanks for breaking with us. I'll see you next time for the next one. Bye. Bye