In this video, you'll learn how to use Miro, formerly known as real-time board and customer journey maps on a day-to-day basis. We're going to look at some of the more advanced features and also end with some of the pros and cons and when you should and shouldn't use Miro. Let's jump straight in. Hi, I'm Mark and welcome to the service design show. This show is all about helping you build organizations that put people at the heart of their business. And in this video, this video is a second video of a series of two where we are looking at how to use Miro to create customer journey maps. If you haven't seen the first video, check it out over here. We've created the basic structure of our customer journey map. And now we're going to look at using this journey map and Miro on a day-to-day basis to actually realize customer-centric change. So let me share my screen and jump back into the map that we've created in the first video. The map looks like this. It's a super simple map just to show you the basic building blocks of customer journey map. And we're trying to map going to the zoo. Now, probably the first thing that you'll try to do is to move things around in your map. You're going to remove stuff, you're going to add stuff and a good journey mapping tool should make that really easy. Now, Miro has a few options that help you to do that. And let me show you what they are. So let's say in the before stage, we want to add a third customer activity. Let's just copy, park your car and we can just duplicate this. And I don't know, this would be a wait in line to get in. We've added a third card, but now our journey phase doesn't, it's not in the right place. So we can pretty easily drag that around, move it and make the before stage bigger. That's pretty easy. If you want to remove and add stuff, you can pretty easily do that. But how about when we want to add something between buy tickets and park your car somewhere in the middle of the map? Well, Miro makes it really easy to select multiple objects. Sorry, wrong click here. And we also need to change this one, of course, and then just to drag them around a little further. That makes it pretty easy to do that. So you can, you can select multiple stuff, things you can, when you right click, you can, I think you can even group them somewhere. We need to make this one a little bit bigger and smaller. So dragging stuff around, grouping things, aligning things. That's what I really like about Miro. It aligns stuff pretty well. That's pretty easy to do when your map isn't that big. If you don't have that much information in your map, you can do this manually. Once your map starts to become bigger and you have like 25 cards here, and you need to move everything around, it will be a more burdensome task. But it's if you're persistent enough, it's doable. Now, the other thing that's super important in using customer journey maps in day to day operations, that is collaboration. That's that's key. If you're using a tool, customer journey mapping tool, that doesn't allow collaboration.  So Miro is really built around collaboration, and you'll have a lot of options. If you click the share button over here, you see you can invite people, you can change them from editing, commenting, viewing. This is basically the same way Google Docs does this, if you're familiar with that, you can invite people from your team, you can invite people from outside of the organization. It's super flexible. And what I really like is you can almost any card option information layer, you can tag people. And you do that, for instance, by this was one of the comments that we placed over here. I could have mentioned a colleague over here. Hey, Chris, take a look at this. And if I would use an ad sign, Chris would get a message. So in terms of collaboration, I think Miro does an excellent, excellent job. The next thing that's super important when you're using a journey map on a day to day basis is sort of knowing the states of something who is working on what is being improved, what is being removed, what has priority in this quarter.  You can use colors. Most shapes allow you to add a color, like we could make some things purple. And once we know what purple means, we can pretty easily see that. Another option would be to use tags. Tags are almost everywhere in Miro. So we let's make a remove task to these, to these two remove, move tag. We can use this one, right. And now they have the tag on and maybe let's say this one should be improve. And let's make this one green. Like I said, let's make this one improve, green, create. So this makes it pretty easy to see what is what, who is working on what and create priorities. And if you click down below here, you can see, let's find right option. Right. You can see the cards over here. You can see the tags over here. And that makes it pretty easy to sort of navigate and see who's doing what. When you're collaborating on a map, which you always should, the next thing you probably want to know is, did Chris actually do the thing I wanted him to do? I asked him to do or what did he add? What did they change? So the way to do that is by looking at a version history. Miro has this and it's excellent. It's called activity. It's down below over here. And you can see all the changes that have been made to the map since you last log in. And you can, yeah, you can go back, I think even in the map. So this, this might be a subtle thing, but once you start using maps as a day to day tool, this will become crucial. So, and this is really well integrated in Miro. The next thing, at some point, you are going to want to present your map to the management board. And you're not going to do that in an online tool. Probably you might, but you're not. So you'll want to export this map and show pieces of it or the whole thing. And Miro has a few options to do that. You can save it as an image in the free version. You'll get a watermark and you can save it as a high resolution image, but at least you can export it. Now we've got an image and we can save it as a PDF. But first we need to create a frame. We're not going to go into that, but it works and it looks pretty decent. So exporting also is really, really well integrated in Miro. Now let's look at some of the features that I really like about Miro and some of the things I wish that would have been in there and wrap up with sort of looking at when Miro would be suited for you. When would you, when would I recommend that you use Miro? So the first thing we need to get straight is Miro isn't a dedicated customer journey mapping tool. It is a wide boarding tool which allows you to have a lot of flexibility, which is great when you know what you're doing, when you know what the structure is, when you know how to create journey maps. But if you don't know what you're doing, that flexibility could also be a downside. What's also really nice is the embedded icon finder and Google image search. Although again, I recommend you use real images from your research. And overall, I must say that Miro is a pretty polished experience like selecting things, aligning things, the way they handle colors, the way they handle fonts, it just feels done right. And the usability is just, yeah, it's solid. It's a good product to use. And let's not forget the collaboration features. I think, like I said, this is a must have in any professional tool you want to use for customer journey mapping. Miro has done this really well. The sort of different stages where you can share maps like editing, commenting, and viewing. You can tag people, you can view the activity. That's all sort of crucial, I think, for using a journey mapping tool. And that's all embedded into Miro done really well. I think Miro is really good as a journey mapping tool, but it's not perfect. There are two things I wished somehow would have been in there. The first one is has to do with the detail levels. Yes, you can add additional detail to cards using comments or using the card type and adding details there. But when you want to expand and collapse, collapse those details, you would either need to click individual cards, or you would need to go into the overview. There's no real easy way to sort of hide and show lanes and stop lanes. That would be, if that would be the case, it would be perfect. The other thing is that has to do with adding and removing items in your map. Like I showed you, you can group things, select things, lock things that already makes it easy to drag stuff around. But when, if, no, when you will make bigger maps, and you will make bigger maps once you start using them on a database basis, it becomes tedious. At some point, you'll be dragging so much around, you'll be spending so much time realigning things. That is just, I don't see that happening for a long period of time. So, yes, Miro makes it easy to align stuff, but at some point you'll run that will become a limitation. So it would have been nice if things would snap, if you could sort of add things in between, collapse. I know we have to be honest, Miro is a whiteboard, it's not a journey mapping tool. So I know why it's not in there, but it would have been nice. Let's talk about pricing for a second. Miro has a free plan, which I've been using. You can use it, play around and see if it works for you. They also have paid options, of course. And I think the basic option starts at $15 a month, if you pay monthly, and they are also team accounts, stuff like that. Check it out. I'll link to it down below. Now, when would I use Miro as my journey mapping tool if I don't have any other tools? Probably when I'm in a project where the scope is limited, the team is limited, and I know I will be discarding the map after this project, where I know that we won't have to change the map for a long time. But Miro is probably a pretty good choice. It's a solid choice, experience is good. When you would like to create a map that is going to be the foundation of your customer-centric innovation steps for the coming months, where many people need to rally around, where many departments need to rally around, where you need more depth, I think there are better choices out there. But Miro definitely has a good place in the customer journey mapping tools spectrum. I'm pretty excited about Miro. It has surprised me really well. What are your experiences? Have you used Miro as your customer journey mapping tool? What are your tips and tricks for using it? Leave a comment down below. And if you want to continue learning about how to create maps that actually make an impact on your customers and your business, check out this next video because that's what we're going to talk about over there. See you in this next video.


Hello and welcome to this session. This is Professor Farhad and this session will look at current liabilities. This topic is usually covered in financial accounting as well as the CPA exam, FAR section and the ACCA exam. As always, I would like to remind you to connect with me on LinkedIn if you haven't done so. YouTube is where I house my 1500 plus accounting, auditing, finance and tax lectures. For example, this lecture is about financial accounting but I do cover 10 other courses beside financial accounting. On my website farhadlectures.com, in addition to the lectures, you can find PowerPoint slides, notes, multiple choice, true, false, CPA questions as well as practice, exercise. So what is a current liability? Current liability is simply a debt. So liability is a debt but we need to define the word current. Well, if it's a current liability, it means the company expect to pay it within one year or the operating cycle, whichever is longer. So simply put it's a liability that the company have to pay within one year or the operating cycle. Now, what do we mean by the operating cycle? Well, the operating cycle is how long does it take you to take some cash, invest the cash in something like an inventory, sell the inventory, create a receivable, collect the cash again. So how long does it take you to take some cash, invest the cash and collect the cash again with profit? Obviously, this is the whole process is to make a profit. For example, for some companies, it may take you three months. For some companies, it may take you six months. So the point is if it's less than a year, we assume your operating cycle is a year. So we always assume for financial accounting purposes, your operating cycle is a year. Now, what are some examples of current liabilities? It could be notes, basically a loan, a short term loan less than a year, accounts payable, and we look at accounts payable in a prior chapter when you buy goods and services on account, unearned revenues, and accrued liabilities. Also, we looked at those when we did the adjustments such as taxes payable, salaries and wages payable, interest payable, and many other. So we have many types of accrued liabilities. In this session, we're going to focus on notes payable and earned revenue because those are two accounts that we did not cover heavily in prior chapter, especially notes payable. What is a notes payable? Basically, a notes payable is a written promise, basically an official promise to pay money frequently issued to meet short term financial need. It could be short term or, you know, notes could be short term or long term, but if we're dealing with current liabilities with notes payable, it must be short term. It requires the borrower to pay interest. Of course, when you borrow money, you have to pay interest and issues issued for varying periods. So it could be issued for three months, six days, 12 days, whatever amount you would like based on your needs. So let's take a look at some entries to see how it works. So First National Bank agrees to lend $100,000 on September 1, 2019 if Cole Williams Company signs a 100,012% four month note maturing January 1st. So simply put, Cole Williams wanted to borrow $100,000 on September 1st. It won't mature. It means they have to pay it back January 1st. First, we let's do the entry for the borrowing. When we borrow the money, Williams would debit cash credit notes payable. What we just did, we just created a liability called notes payable. And from a T account perspective, we have a notes payable and we have $100,000 in liabilities. Now, we lend the money, we lend the money, September 1st, and we're going to year one, this is year one, and we're going to pay it back. I'm going to do this in a different color, January 1st. So simply put, we're going to pay it right here the following day. What happened? From September 1st till December 31st, we have to accrue the interest. What does it mean accrue the interest? It means we have to compute our interest expense for that period. Well, it's a $100,000 loan times 12% and we're going to multiply by September, October, November, and December. We're going to multiply this by the time is 4 divided by 12 because we are computing the interest for 4 out of 12 months. All in all, this should be equal to 4,000. On December 31st, we debit interest expense 4,000, credit interest payable 4,000. Now what we just did, we just created another liability in addition to the notes payable. Now we have interest payable, which is an accrued liability. We accrued a liability of $4,000. Now January 1st, the following day, we're going to go ahead and prepare the entry on the maturity date. On the maturity date, we have to pay all the interest. So what's all the interest? Again, I'll do the computation again. It's 100,000 times 12% times 4 divided by 12. We have to pay back an interest 4,000 and we have to pay back the principal amount. So we have to pay the note. So basically, we're going to debit the note 100,000. Therefore, the note is gone. We're going to pay off the interest. We're going to debit note interest payable 4,000. The interest is gone. And we have to pay in cash $104,000. So what we did is we borrowed money, accrued the interest, paid the note with the accrued interest. The next liability we're going to be looking at, which is a current liability, is sales taxes payable. And what is sales taxes payable?  Those taxes are called sales tax. Simply put, you pay more than what's, for example, if there's something for $50, you might end up paying $50 plus $3 in taxes, which is you end up paying $53. Why $3 in taxes? Because the government would like to have the local, the state, whatever government has jurisdiction, you need to pay them what's called a sales tax. So it's a $50 times 6%, then you'll pay that amount, whatever that amount is. Now, sales taxes are expressed as a stated percentage of the sales price. So basically, it's usually a sales percentage. For example, in New York City, there's a sales tax of $8 in Pennsylvania, 6%. And I know many people in New York, they travel to Pennsylvania to buy their clothing or any items because it's cheaper. Actually, let's make the example a little bit more extreme. For example, in Delaware, there is no sales tax. So for example, people drives to Delaware to buy high priced item. So this way they're on pay sales tax. Now by law, you're supposed to file, when you file your income tax return, you're supposed to claim it, but that's beyond the scope of this lecture. So retailers, selling companies collect tax from the customer, enters that tax separately in a cash register, or include it in the total, but they have to keep track of it, then re-emit the collection to the State Department of Revenue. So simply put in Pennsylvania, they send the money to Harrisburg to the state capital. So you collect the money and you send it to the state. Let's take a look at an example, March 25th. The cash register reading for this grocery shows sales of 10,000 and sales tax of 600. We made sales of 10,000, but we also collected 6% sales tax. Therefore, we collected in total 10,000 plus 600, 10,600. We credit sales revenue only 10,000 because this is the sales. Then we have a liability called sales taxes payable. Now we have sales taxes payable. We just created $600 liability. Now eventually, we're going to send this money to Harrisburg when we send the money. We debit sales taxes payable 600 and we credit cash 600. So this is the adjusting entry A and A. This is the adjusting entry and basically this will be common. So basically we're left with 10,000 cash, 10,000 revenue. Now sometime what happened is the company do not enter the sales tax separately. What does that mean? It means what they do, enter the total receipts of 10,600. So when they collect the money, they don't separate the sales tax from the tax because the amount received from the sale is equal to the sales price. It's 100% plus 6% tax. So what happened? Some companies, which it's a bad habit, but some companies do it, they don't, like for example, you'll pay the price for an item and the price includes the sales tax. Simply what does that mean? It means the company will have to go back and back out the sales tax. So if the company collected in total 10,600, if they collected in total 10,600, the sales tax is 6%. You will take 10,600 divided by 1.06. They will back out the revenue account. So this is the revenue. So what's left? If the revenue is 10,600 must then sales tax. So you don't collect it up front, you'll back it out. Therefore the entry that we make is cash 10,600, credit sales revenue, 10,000 and credit sales tax is stable. So basically you have to back out the sales tax from the total.  It's included in the price, but it's the job of the retailer, the job of the seller is to back it out. Another common current liability we have to deal with is unearned revenue. And what is unearned revenue? Unearned revenue is when someone pays you upfront for services that for services that you have not performed. So simply put, they will pay you upfront for something that you did not, you did not, you did not complete yet. So what do you do with this? Revenue received before the company deliver goods or services. So when somebody pays you cash, you debit cash and when you did not do the work yet, you credit unearned revenue, you credit unearned revenue. So when does that happen? It happens when airline companies, they get your money upfront, but really they don't have revenue until you travel, magazine publishers, if you are still subscriber to a magazine, a physical magazine, hotels you pay before you, before they provide the service. Another example will be, let's assume Superior University sells 10,000 season football tickets at $50 each for its five home game schedule. So when they sell the tickets, they may sell them sometime in August before the season start. So they will debit cash half a million, which is great. They will credit, well, it's August 6th, they will credit unearned ticket revenue half a million. Now those tickets are for five games.  Now we still have 400,000 because this is unearned revenue. We debit unearned revenue 100,000. We still have 400,000 and we credit revenue 100,000. We credit revenue 100,000. Another liability is current liabilities, which is called current maturities of long term debt. And what is that? Simply put, if you have a long term loan, if you have a loan for let's assume five years, this is year one, year two, year three, year four, and year five. What's going to happen is this because this is a long term loan. Let's talk about current liabilities, specifically current maturities of long term debt. What does that mean? Let's assume you have a loan for five years. This is year one payments, year two, year three, year four, and year five. This is considered five, five year loan. Why it's a long term loan? Why it's a long term loan? Because it's going to be with us for five years. However, what's going to happen is this year, year one, the payment that we're going to be making in the next year, this is considered current portion. So this is the current portion. What does that mean? It means year two, year three, year four, and year five are the long term portion. So you have a current portion, you have a current portion, and you have a long term portion. Okay. Portion of the long term that that's due within the current year is considered current. And there's no adjusting entry here to make. And I remember from work, because we dealt with a lot of medium and small businesses, and they have many loans, old businesses have loans, but when you are dealing with medium sized businesses, they have many types of loans. And I still remember breaking down those into current and long term debt. So let's take a look at an illustration. Let's assume 1D construction issued a five year interest bearing note, 25,000 on January 1st. This note specified that each January 1st, Wendy should pay 5,000, 5,000 of the note. So when we prepare the financial statement, it's a $25,000 loan. What's going to happen is every year we'll pay 5,000. So what amount of this liability is considered current? Well, 5,000 is current because within year we have to pay 5,000. What remains is the long term portion, which is 20,000. So notice 20 plus 5, the loan is 25,000. 5,000 will be considered current, and 20 will be considered long term. We call this as current portion or current maturity of long term debt. We called it 20,000 long term debt net of short term portion, short term portion. So you may see this language. So you know what it means in case you saw it in the financial paper. Let's take a look at a few examples real quick. Cash is borrowed on a $50,000 6 month, 12% note on September 1st. How much interest expense you would incurred by December 31st? So you borrowed $50,000. You borrowed $50,000 on September 1st, and it's due six months later. But the question is, how much interest is accrued as of December 31st? Well, you have September, October, November, and December. You have September, October, November, and December. You have to compute the interest for four months. So you're going to take $50,000 times 12% times 4 divided by 12. So as of December 31st, you have $2,000 of accrued interest. What do you do on that date? You debit interest expense for $2,000. It's accrued, and you credit interest payable of $2,000. That's what you would do. How much is the sales tax? How is the sales tax amount determined when the cash register includes the sales tax? So what does that mean? It means when you collect the money and you collected $400,000 in total, and you did not separate the sales tax from the revenue. So let's assume in your state, the sales tax is 6%. What you do to back out the sales revenue from the sales tax, you will take the amount 400,000, 400,000 divided by 1.06. So 377,358, 377,358. That's your sales 400 divided by 1.06. Now you take 400,000 minus 377,358, and you will find your sales tax. So you back it out. So divide the total cash register by 100% plus the sales tax, 100% plus the sales tax, then subtract the sales revenue from the amount of the revenue, the total 400,000 minus that amount. If $15,000 is collected in advance on November 1st for three-month rent, what amount of rent revenue would be recognized December 31st? So you collected $15,000 and it's for three-month. Therefore, each month you are going to recognize $5,000. So if you collected this money in November, November 1st, you're going to have November and December because it's not going to end until January. So for the year December 31st, you have two months. Two months is going to give you $10,000 worth of revenue, which is two-third, and you would still have $5,000. So let's do the entry anyway. So you receive the money upfront. You debit cash $15,000. You credit unearned revenues $15,000. This is November 1st. This is November 1st. On December 31st, you earn two out of three months. Two out of three months is debit unearned revenue $10,000. Credit revenues $10,000. From a T-account perspective, from unearned revenues, you had $15,000. You reduced it by $10,000. You still have $5,000 for the month of January. And the next session would look at payroll and payroll taxes table. As always, I would like to remind you to visit my website as I do have additional resources, such as PowerPoint slides, notes, practice exercises. I suggest you subscribe. It's an investment in your career, especially if you're studying for your CPA exam. Good luck and study hard.


We are a field artillery battery and we're here doing table 12 through 15 progressions. So 12 to 15 is a battery li-fire with all six guns shooting live and maneuvering at the same time. The kind of guns we are shooting today are the MiG-7 Alpha-1s with a 155 millimeter artillery shell. Today we're using a MiG-739 or PD fuses which is basically you just take the fuse out of the can unhook the airboat lifting plug off of the round itself and then just twist the fuse on there. Not too much to it. So my job is the ammo team chief and basically what I do is I keep a count of the fuses, the rounds, the primers which we use to ignite the charges. I keep a count of the charges and I communicate back and forth with FDC and my chief to make sure everybody's on the same page. The purpose that the fuse serves depends on the fuse again. Sometimes I have a time on them and when that time goes off that's when the fuse explodes. The ones that we're using today is basically when it hits the ground and makes sure it goes boom. We are here working hard. Our battery is like one big family. We really appreciate everybody around here.


Hello dear learners. I welcome you today to this lecture session, the topic of which is Society, Religion and Cultural Development in Early Medieval India. This lecture is meant for the BA First Semester Learners of History. We earlier began the lecture session by splitting the topic into three parts. In our previous class, we had discussed the Society and Religious Development in the Early Medieval India. Today, the lecture shall focus on the aspect of art and culture of the period taken up for the study. In the lecture today, we will be discussing the temple architecture in the Early Medieval period. Let us begin then. In the Early Medieval India, the most important activity that received royal patronage was that of temple building. The temples were symbols of grandeur to both the royalty as well as the deity for which it was built. Indeed, there was a definite correlation between the two. The construction of large temples and their regular maintenance required the mobilization of huge amount of resources, both financial and human. This could be possible only when the particular king was wealthy and powerful enough. As for the style, while being variant and rooted to the regional context, however at the same time it included features that were recognized throughout the continent. Another feature of the temple architecture of this period was that the sculptures and the architectures were often identified with a craftsman or shilpi or an association of builders and sculptures and thus it tells us of the fact that they were recognized figures and did not live a life of anonymity. One such name was that of Kokasa. This no doubt points to the respect for expertise and professionalism of the craft. There were manuals on building constructions. Shilpa Shastra were written in Sanskrit. The three types of temple architecture which we will be discussing today are the Nagara, Dravidha and the Vesara or the mixed styles. But before that, let's look into the important elements of an early medieval temple, a garbhagriha. What is a garbhagriha? It's a sanctum sanctorum, a pradakshinapatha or the circulatory path running along the garbhagriha, a mandapa or the hall or a series of mandapas and a porch. By the early medieval period, the temples in India had become grand both in its elevation and plan. Petrons and architects adding several mandapas between the garbhagriha and the porch like the nritha mandapa or the dancing hall, sabha mandapa or the meeting hall and maha mandapa the great hall and ranga mandapa or the color hall. Let us first begin with the nagara style. All the available texts agree that the nagara style was prevalent in the region between the Himalayas and the Vindyas. The characteristic feature of the nagara style of temples was of the lefty tower or spire called the shikhara. The nagara style is typically characterized by the architectural wonder which ideally portrays the craftsmanship of the artist. A study of the temples of northern India reveals two distinct features in planning and in elevation. In plan, the temples were basically quadrangle with graduated projections in the center. In elevation, it resembles a tower gradually inclining inwards in a convex curve. According to the plan, the projections are carried upwards to the top of the shikhara and thus there is strong emphasis on vertical lines in elevation. Temples built in this style were spread over large parts of northern India, particularly in central India, Gujarat, Rajasthan and Orissa. However, even with the general nagara style, there were distinctive regional characteristics. The nagara style is widely distributed over a greater part of India, exhibiting distinct varieties and ramifications in lines of evolution and elaboration according to each locality. Some of the outstanding examples of this style are the Lingaraja temple at Bhuvaneshwar, the San temple at Konark and the Kandaria Mahadeva temple built by the Chandela king at Khachuraho. Let us move to the Dravida style of temple architecture now. The Dravida style of architecture emerged in south India. Temple architecture reached its climax during the rule of the Cholas. The Dravida style was common in south India but it varied region to region. The imprint of regional architecture was a common feature in it. For example, in Kerala, the architecture takes a form that is unique to the region built in wood rather than stone. The early Chola temples were small and simple. An early example of the Dravida style of temple architecture is the 8th century temple of Kailasanatha in Kanchipuram and temple at Naptamalai built during the 9th century. And this is an example of the early Dravida style of temple architecture. Some of the important characteristics of this style are the Garbhagriha, the Bhimana, the Mandapur and the Gopuram. The Garbhagriha was the inner sanctum that housed the chief deity to whom the temple was dedicated. The number of stories varied from 5 to 7 and they had a typical style which came to be called the Bhimana. The Mandapur was a pillared hall with numerous carved pillars and a flat roof which was generally placed before the Garbhagriha. It acted as an audience hall and was a place for various other activities such as ceremonial dances which were performed by the Devadasis, the women dedicated to the service of the gods. The Gopurams were the lofty gates along the high walls that enclosed the entire temple complex. In course of time the Bhimanas rose higher and higher. The number of courtyards was increased to two or three and the Gopurams also became more and more elaborate as seen in the temples at Madurai and Srirangam. It was from the 11th century that the Cholas began building royal temples which were more spectacular and grandeur. An example of this style is the Brihadeshwara temple built by Chola King Raja Raja I at Tanjore. Dedicated to Shiva, the temple was originally surrounded by two prakara walls and has a Gopuram on the east entrance and three small torunas on the other three sides. While the outer prakara is now completely lost the Gopuram still stands on the east. An enormous stone image of Nandi stands in front of the temple. The main temple is constructed out of granite and is 180 feet in length and consists of a Mukhamandapa, Ardhamandapa, an Antarala, a Garbhagriha and a Pradakshinapat. Let us look at the stylistic differences between the Dravidha and Nagara style of temple architecture. First, a Dravidha temple is surrounded by a wall or prakara. Dravidha temples are also known for their colossal gateways or Gopurams which is not found in the Nagara style of architecture. The Shikhara of a Dravidha temple is of pyramid shaped whereas for the Nagara temple it is curvilinear in nature. Let us now move on to the Vesara style of temple architecture. The architecture of the Deccan or Vesara style was an amalgamation of the Nagara and Dravidha style of architecture. These structures were mostly built under the patronage of the Chalukyas and are to be found at Patadakal near Badami in Karnataka. There was also great improvement in the art of making sculptures in this period. An important contribution of Chola artist in this respect was a bronze image of Nataraja. These images represent Shiva in his cosmic dance and are unmatched in their rhythm and balance. A few examples of the Vesara style were the Durga temple at Aihole or the Virupaksha temple at Patadakal. The Virupaksha temple is a symmetrically planned complex with a compound secured by walls and shoved shrines with gateways on the east and the west. Within the compound stands the pavilion of Nandi. The temple consists of a linger sanctuary surrounded by a passageway which opens into a mandapa square in design with freestanding columns creating aisles. The sculptures on the outer walls speaks of the greatness of Chalukyas plastic art. Panels on the passageway walls are mostly devoted to Shiva though the icons of Bhiksathana, Bhairavi, Lakulisha holding its club and Harihara is also to be found. The central projection on the north passageway walls has a formally posed eight armed images of Vishnu. In the Deccan the anti chambers were large probably imitating the Chaitya halls of the Buddhist. This must have been due to the large gatherings of audiences. The Deccan temples preserved the earlier tradition of the Chalukya style. Gradually they became more decorative and accentuated by the use of soap stones than sandstone. The temples built by the later Chalukyas and Hoysalas also revealed the change in the ground plan and elevation. The Hoysala temple at Helibidh Belur and Somnath Pura is a fine example of it. The earlier style of rectangular ground plan was placed by a star-shaped or polygonal one and built on a raised platform. This ground style gave enough space for sculpture and bass relief. The emphasis on Gopurams and Shikharas was not much as in South India. The temple walls carried the decorations of animals and floral motifs, musicians, dancers, battle scenes, etc. As we come to the end of this lecture for a few suggested readings I would recommend our students to go through Satish Chandra's History of Medieval India and Romila Thapar's Early India from Origins to AD 1300. Other significant names of the books in this regard are I suggest that our students could read books on Indian temple architectures or they could also read about art of ancient India or they could read about the temple architectures of Karnataka and also the early history of Deccan in this regard. As for question and answers in this segment the common question would be the architectural trends of the early medieval Indian period. The other question on this topic would be the stylistic differences between the Nagara, Vesara and the Dravidah style of temple architecture. Please use bullet points while writing the answers. In the next session we will be discussing the Jati Pratha or the caste system. Before leaving let me summarize the lecture for today's sessions. We have discussed the development of temple architecture in early medieval India and the different styles that prevailed. We basically focused on the three styles the Nagara, the Vesara and the Dravidah style each unique and yet having features that were widely recognized. Dear learners that is it for today we will meet you soon in yet another interesting session. Till then take care and stay safe. Thank you.


The study integrates solar cells with supercapacitors to create a self-powering energy conversion storage device, demonstrating its potential for efficient conversion of solar energy into electrical energy storage. This article was authored by Manvalan Vijayakumar, Jitramayidiru, Tata Narsingharao and others.


So I've been in this for about a year now working in the ICU with really, really sick COVID patients now being on the other side of it where I'm working in an area of prevention instead of taking care of patients in the acute phase of their illness. I feel really, really lucky to be here and to be able to prevent it. This site here is a great example of exactly what FEMA does. We are pulling together local, state, and federal resources in order to help the citizens of this community. We in particular are doing this, like I said, nationwide. We have Marines and sailors ready to go outside to help anyone with special needs, wheelchairs, etc. through the front doors. They'll walk them right up to registration. Once they're registered or checked in for their vaccination, they'll move right along to the vaccine center where they will receive their vaccination. From there, they are shuttled along right into our observation area where they're watched by some physician assistants, some medical doctors, and some nurses for about 15 minutes, and then off they go on their way. I'm Major Greg Winnan. I'm the officer-in-charge of the Marines and Sailors from First Marine Logistics Group. We're here in Arlington, Texas and we established a CVC. When we first got here, the fire department opened their arms, showed us their process, asked us to integrate, and because of that, we were set up for success. Our role is to provide some level of oversight, but it's also to ensure that we all function work together to protect the citizens of Texas. The collaboration of the operations, the support, the partnership, and then the technology keeps it all in track. Our registration system not only checks people in, it makes sure that we verify who they are, and then it takes them from the point of entrance in this venue all the way through to the shot.  I've been in baseball for 36 years, and in my lifetime, this is by far the most important initiative, mission if you will, that we've ever encountered. As we sit here in the first week of March, 2021, to think that there have been more than a half million American lives lost to this virus. I mean, I just can't think of any other calling that's more important at this time. For me, I think it's emotional because my last year working with COVID-19, it's been the hardest work year of my life. And with COVID, the nurses are almost assuming that role, not only as the nurse, as the caregiver, but now as the griever, as the friend at the end stage of life. It's exhausting. It's very, very tiring.  You just want to go right to bed. What gives me hope is how many people are coming out willing to protect themselves and to protect their friends and family by getting this vaccine.


Welcome to Depression 2 Expression, my name is Scott and we're going to talk about love today. Love! Love everybody!  No, you don't. I know you're great people. You spread cheer all around the world and throughout your daily lives. I get it. You're amazing. Why are you amazing? Because you're watching this video. But I want to talk about something I saw yesterday. It was just a guy walking down the street who was at a protest that I walked by. And his t-shirt said, love everyone. And I said, oh, that's nice, but it's also complete bull.  It's a lot of pain coming at you. And every single thing that happens in life I can't be happy about. Again, maybe I'm not as woke as you are.   It's a lot of pressure. It's like taking the role of God if you believe in that sort of thing. But let's just say the image of God is basically to love unconditionally, no matter what. And as imperfect human beings, that's very, very difficult to do. I don't know if a lot of you would sacrifice your own life for Barabbas. You know what I mean? Jesus quote. But I think to really put that pressure on ourselves and to say love everyone, that takes its toll. I think it does. And I don't think you should feel like you need to do that. Actually, I'll just go back to myself. I feel like I don't need to do that. I can make a difference in my small community. I can spread some positivity, some new ideas through this medium. But at the end of the day, I can't feel like it's my responsibility to love every single person that I don't know. So the t-shirt that this guy had was love everyone and I say that's a great philosophy.  You're getting punched left and right by people. And I just can't spread that love. You know, the hashtag love wins usually comes after some kind of unfortunate event in whether it be some kind of shooting, some tragic event. And it's hashtag love wins. And I totally disagree with that, unfortunately. And that's not to say it's negative.  Or like remember the Adam Sandler song, love stinks, yeah. From the wedding singer. No, I'm not saying that. I'm saying I think what really wins is hard work, determination, integrity, having strong habits. What wins is meeting other people, spreading useful ideas, being comfortable and open to change, right? I don't think love is the answer all the time. I really don't think so. In a perfect world, yes, love would win. Unfortunately, today, I'm sorry, man, but I don't think that's it. So how does this relate to mental health? Well I told you to take the pressure off yourself because a lot of us are so, we internalize problems, right? We really do and we think that things are our fault. That in order for the world to be better, or in order for the world to be better and we want to live in this perfect world, we feel like it's all on us. Now your happiness is your responsibility, I get that, but not other people's happiness. And not the progression of the world as we know it. That's not all on you. So take a breath and think about, okay, what can I control? What can I tell myself that makes me feel better? What is my responsibility in my own happiness? Okay, I don't have to love everyone, okay?  I don't have to be positive all the time, okay, that's good, that's good, okay? There isn't always an upside to depression, okay, okay, that's okay. I'm feeling anxious, is that a sign that the world is coming out to get me? No, no, you're anxious, that's okay, do you need to love anxiety? No, you don't, that's okay.  You don't need to say, oh, that person is going through a rough day and I love them anyway. No, no, that's okay, you can just say, ah, that's a and you can move on, that's okay. We don't need to play the role of God, I'm sure not. And what's helped me a lot in my mental health and journey is to control as much as I can and do a better job of letting go. If you want to join our online community on Patreon for five easy dollars a month to talk more about this stuff and join our live streams and have some fun and meet people from all over the world, all the links in the description if you want to try it out. And we have a great Discord group and we just have that chat going 24-7. I like talking about this stuff, I hope you like listening and I hope you like talking about it too. So let me know, does love win in the comments? Does love always win? What do you think? Look forward to hearing from you, see you on Discord and Patreon, stay strong, keep being you and express yourself.


The challenge of the Yukon! The Wonder Dog King, swiftest and strongest of Eskimo lead dogs, blazes the trail through storm and snow for Sergeant Preston, as he meets the challenge of the Yukon! Sergeant Preston was typical of the small band of northwest-mounted police who preserved law and order in the new northwest country, where the greed for wealth and power led to frequent violence and bloodshed. But in spite of the odds against them, Sergeant Preston and his Wonder Dog King met that challenge, and justice ruled triumphant. In a small, garishly furnished walk-up apartment on a nondescript Seattle street, two men sat talking. Blocky Lewis was the older of the two, and his face wore an expression of impatience as he glanced from the cards he was cutting with practice fingers. I tell you, Blocky, there's not a thing I can do about it. He won't change his mind. You said that before. You've been getting your cut on everything. It's easy money, kid. Sure, sure it is. Or was, because I'm going with him. The courts got into you, anyway. You go and sign a medal, so the two of you have stuck together all this time. Your orphans, ain't you? Both of you and Ian have made your own way. You don't know that sapper thing. Don't call it a sapper, Blackie. Maybe he doesn't see a lot of things the way I do, but he's not dumb, see? You think that stuff in the newspaper is on the level? Huh? Oh, oh, yeah, sure I do. I brought a ton of the real McCoy in on that boat, didn't I? Just think, Blackie. A ton of gold. Yeah, I am thinking. I never heard of the place before, but there's no reason why we couldn't... Couldn't what? Yeah, maybe I was wrong. Things haven't been so good here lately. Last brush I had with the law was a little too close. Well, get what you're driving at. Let me see that paper. How soon are you two leaving? Oh, not for a couple of weeks. Three at the most. Why? Kid, I'm going to meet you there. And let's see. Yeah, I'll meet you in Dawson. Yukon Territory. Several months past, that Inspector Maynard's office at headquarters of the Northwest Mounted Police, Sergeant Preston stood in front of a map of the territory, listening to his superior officer. Unfortunately, we have only the description of the robbers which the bank clerk supplied before he died. That won't be a great deal of help to you since the bandits wore bandanas over their faces. Here you are. Hmm, you're right. Doesn't say much. All you can get out of this is that there were two men. Yes. If they're responsible for all of this murder and robbery, they've got quite a score behind them. It's your job to see that they settle their score. Whatever it is, Sergeant. I'll start to work on it immediately, sir. You think you'll need any assistance on the case? Well, King and I usually... That's right. I forgot for the moment. King's your assistant, eh? I never did understand that. But handle this anywhere you like. Just so as those men are brought to justice. Good luck. Thank you, sir. I hope I won't need it. Thus began many days on the trail for Sergeant Preston and the Great Dog King. They stopped the towns where the crimes had been committed, pausing only long enough for the money to ask questions and then move on. The trail ended abruptly at Burgess City. While the policeman made that settlement his temporary headquarters, he searched painstakingly for clues of the two men he sought.  I'm awfully glad I met you on the trail, Kathy. I don't often have the pleasure of walking with you. Well, good heavens. I think that's more words than you said to me since the day I met you.  I mean your father for the way he's been to us. Oh, nonsense. Father likes you. Otherwise, he wouldn't have told you about that strip of land next hour. He state to claim on this property that's really very worthwhile. But he thinks you too will make a strike on your land that may be every bit as good. I hope he's right. Only it's Johnny he likes. Johnny's a great guy. You know, I've known him since we were kids. Why, I don't remember... Honestly, Eddie, don't you ever talk about yourself? Huh? Well, there isn't much to tell about me. Oh, Eddie. Oh, what's wrong? Nothing. Nothing at all.  Oh, never mind. As Eddie Warner walks from Merrill's cabin toward his own, Kathy watched him from the window with an exasperated frown on her face that softened to a smile.  Her hair, her eyes, the timber of her voice. He shook his head and walked faster. Later that evening, in Burgess City, Johnny Patterson stood at the bar in the Golden Mugget Cafe. Blackie Lewis was beside him, but the younger man looked morosely at the contents in the glass he held and instead of listening to his companions. So, while I was playing poker this afternoon, they told me about the Mondium Palace. It seems like he's... Hey, what's eating you, anyway? Blackie, my trigger fingers get itchy again. Oh, so that's it, huh? And what's the deal? You know Merrill.  Yes. Well, so far, we ain't turned up much girls, though. But he's got some more of it in that's mind of his than you and me ever saw before. We could move in on that. What about this palliard? You'd have a hard time pulling anything with him around. The moneys and sounded neat. Oh, if it had looked like Eddie was the one who killed Merrill. You mean Tramham? Why does sudden change your heart? I get it. You get what? Listen, kid, don't try to fool me. I've been around a long time. There's only one thing that can bust up a friendship between two men, and that's a woman. So, well...  Jealous?  That don't seem to make any difference to her. Any time the three of us are together, it's him she listens to when she can get him to talk. No, I'm not jealous. I'm jealous. I'm just clearing away the odds. All right, you can call me in. Yeah, but there's one thing, kid. With a money in town, I'm a little leery keeping them money bags and posts at the hotel. Can you take my share and keep it with yours till he clears out? Sure. I'll take it back with me. What about your pal? Any danger of him finding us? Don't worry. I've got it hid where he'll never think a look at. Besides, we won't have him to consider much longer.  The two of us will work on a plan. I've already got a night's here, but I'll need you to back me up. So come on, let's not waste time. It was mid-afternoon of the next day. A light snow fell. An inside Marrow's cabin, Johnny Patterson leaned back in his chair to look at the old man who was examining some samples of ore. So Kathy went in to get the supplies. I told her she better not waste any time getting back here. You never know when these light snows will turn fierce. That's right. I've been many happy since you came up here, my boy. It's company for both Kathy and me. It used to be pretty lonely. Well, but it's more pleasant now. And I wish you all a look in the world with your... Johnny! Johnny! This we've always loaded, Mr. Marrow. Johnny, have you lost your mind? What's the meaning of this? Put down that gun. Not before I put one of these slugs right through your heart, old timer. You must be insane. Please! Listen to reason! It was much later that night. And in the cabin where Johnny Patterson and Edward Warner made their home, Sergeant Preston looked from the two young men to Blackie Lewis. Finally at Kathy Marrow. The girl's face was white, her eyes red from weeping, but she sat straight and still making an effort to control her sorrow. King lay on the floor, his head resting between his paws while he watched the proceedings alertly. This bullet was fired from a revolver to you, Warner? Yes, the revolver is mine. But I didn't have it with me today. I went hunting and took Johnny's rifle. Johnny Patterson shot a quick glance at Eddie. It seemed to say so much. It seemed to say, so you want him to believe you were out hunting. All right, I'll back you up. Preston noticed a look and turned to Johnny. He took your rifle? Oh, yes, yes, yes. He took the rifle, Sergeant. And you? Blackie and I tried to do some work on the claim today. The snow came up, so we quit and we came inside. But the afternoon plan two handed poker, as a matter of fact. I see. You didn't go to Merrill's cabinet all day. I guess it's my fault that we didn't, Sergeant. I was pretty anxious to see this claim Johnny told me about. King turned his attention from a small group in front of him and looked instead at a corner of the room. His eyes were cocked forward eagerly as he raised his head. Well, Patterson, seems you have someone to back up your alibi. Now, what time did your friend leave to go hunting? I... Well, I don't exactly remember. But he did go hunting. Warner, you were alone most of the day. With the snow to cover your tracks it would be impossible to determine whether or not you went to Mr. Merrill's cabin. And the fact remains that you went hunting, but you didn't bring anything in. I'm afraid I'll have to put you under arrest. Arrest? Yes, for investigation of murder. Say, listen, what's that noise? Well, I don't know. It's scraping us, I'm sorry. Probably a rat, Mr. Lewis. We were troubled with a few of them at the cabin until Dad got rid of them with trash. It looks like King discovered the rat. Sergeant Preston turned a glance at King and from the corner of his eyes he saw one of the floorboards in which the dog had placed the weight of his front paws, went down. And then banged as King leaped back with amazing agility. Come on, get away from there. Sergeant, call him over here. That's a fine dog like that. Oh, wait a minute. That's a loose floorboard. Sir, nail that down, Patterson. You have to twist your ankle pretty badly. I'll fix it, Sergeant. There's no need for you to... Johnny Patterson left the sentence unfinished for he saw them out, he reached into the cavity in the floor, and quickly he reached for a revolver swinging around to cover the occupants of the room. King had not seen, but he'd sensed the action and he turned looking at the man waiting tensely for some sign from Preston. You can drop what you get in your hands, Sergeant. Oh, money bags from the bank and south borough. Yeah. And a lot more pokes in there without names on them.   Get his gun, Blackie. Johnny. Johnny, you mean you've had those there all this time? With the murders you've got behind you, Patterson, I guess one more wouldn't make any difference to you. And your guess would be right, too. Sure I killed Meryl. Blackie and me was gonna move in on a claim. I figured on Mary Calfee once that he was out of the way. Mary, you! Will you murder her? I don't be so hasty, baby, because you're going with me.  And you, too, at ease. By the time you're found, Blackie and me, you'll be out of the Yuko.  You've got everything pretty neatly planned out, Patterson. There's just one thing you've overlooked. Yeah, what's that? The same dog who uncovered your loot. At ease!  Maybe I'm head-cooked. Get him away! Get him away! Try to break out of that hole, Lewis. Now drop that gun, Patterson. Drop that gun! Throw him out of my arm!  Get him away! All right, Dean. Here under arrest, both of you.  Here's the key. I certainly will. Oh, Eddie, I'm so glad I... I couldn't believe you'd done it.  I couldn't believe myself when I saw Johnny didn't believe me. He put on a good act, Eddie. Pretending anxiety to back up your story and at the same time tearing it apart with a tone of his voice. Eddie... Eddie, won't you ever say it? Won't you ever ask me? Why? Oh, Cathy.  But you can take it from me. You won't stay there long. You've both got an appointment with a hangman. Yes, fella. Thanks to you, the case is closed. These copyrighted dramas originate in the studios of WXYZ Detroit. All characters, names, places, and incidents used are fictitious. They are sent to you each week at this same time. Bob Hyde speaking. This program came...


This video shows the combined lessons learned of crew interior access to the Apollo, Shuttle, and Constellation spacecraft at the pad. Using mock-ups and design visualization tools, it is possible to identify costly issues with the pad interface early in the development cycle. Green Screen Video was generated of tests performed by the flight and emergency crew in a specially built crew access arm mock-up. It was then combined with 3D models to visualize the scenarios at the pad. Crew access to manned spacecraft is normally established at the pad after rollout. An environmental chamber commonly called a white room is needed to protect the vehicle cleanliness. Here's the Shuttle white room interface. The orbiter crew access arm interface relies on the geometry of the integrated stack and presses an inflatable dock seal against the side of the vehicle. The orbiter skin is relatively durable and capable of absorbing surface friction associated with the inflatable dock seal. Here's how Apollo managed the interface. Apollo's interface used a remotely operated clamp that removed any gaps for the crew to step over during an escape. Crew access arm connection. In the case of this vehicle, the seal is mechanically attached to the spacecraft. No threaded fasteners should be required during launch countdown or crew egress. Any steps required to build this interface must also account for fall hazards, weather and relative movement of the vehicle and white room. Often this task has to be performed during a scrub turnaround where the launch has been canceled due to inclement weather and the crew cannot leave until access is established. Access to service panels needs to be accounted for in the interface design. The crew access arm design provides environmental protection to the interior of the spacecraft if needed. Several types of requirements have driven previous designs including spacecraft cleanliness levels, humidity that can cause condensation on critical components, precipitation, which is a particular concern at the spacecraft's CAA interface seal during high winds and inclement weather, oxygen deficiency in confined spaces that may result from spacecraft purges. The crew access arm should remotely attach to the vehicle structure. During Apollo, a strong interface was achieved by attaching a compliant portion of the crew access arm directly to the spacecraft structure. A remotely operated clamp located on the roof of the crew access arm white room engaged the vehicle at the base of the launch escape system. Relative motion was absorbed within the crew access arm rather than at the interface. The remotely operated clamp also permitted firing room personnel to connect to the vehicle during an emergency while the crew focused on hatch operations. A key factor that needs to be resolved early in the design process is how the crew access arm will attach to the spacecraft itself. In general, the goal of attaching the vehicle to the crew access arm is to eliminate the relative motion between the two assemblies and allow a better chance of achieving the desired environmental seal at the interface. However, this must be done without damaging or adding mass to the vehicle. Crew Ingress Access into vehicles should be designed to minimize any damage or contamination to hatch seals or mechanisms. In this case, a diving board is used. Crew access for manned spacecraft is a secondary concern for designers compared to on-orbit vehicle performance. However, the components impacted by crew egress are substantial and include the crew hatch, the outer surfaces, the launch abort system, and all crew equipment that could impede escape. Assisted Emergency Egress The vehicle and pad designs need to support rapid removal of crew that are incapacitated during emergency egress. Hatch size must not only accommodate crew and cargo but rescue and breathing equipment used by emergency personnel. The ability of a crew to rapidly exit their spacecraft and escape a pad emergency is perhaps the strongest driver in the crew access arm design. Crews should be oriented with their heads toward the hatch if possible to allow for quick extraction. In some cases, special equipment is required to assist the rescue team if the vehicle geometry impairs extraction of injured crew. Events such as the Apollo 1 Pad Fire elevate the importance of a coordinated solution that allows the crew to get out of the vehicle rapidly without penalizing on-orbit capability. Several design details can significantly improve emergency extraction times such as rapid release flight crew equipment, suits with handles built in, and cabin layouts that provide emergency personnel with working volume around the crew seats. Flight suits and breathing apparatus worn by the emergency rescue personnel should be considered when planning minimum space requirements of interior compartments. To ensure no obstacles impede the crew, careful attention must also be paid to the egress route. In order to remove incapacitated or injured crew from the crew compartment and away from the vehicle, support equipment must be designed to minimize interference with the spacecraft. Unassisted Emergency egress In situations where the crew must egress without assistance, handrails and footholds are critical for quickly crossing the gap between the vehicle and the white room. Tools should not be required to enable crew egress. The limited mobility within a crew suit increases the need for mobility aids within the vehicle and at the edge of the white room. This egress method and landing are the two primary driving cases for placement of handles around the hatch area. Vehicle purge design should minimize over pressure required at the crew access arm vehicle interface. Purged areas of the spacecraft must include a recovery plan for loss of purge. In other words, what happens if the purge is lost or the mission is scrubbed. The KSC mock-up team has presented a series of design considerations for crew compartment access. This area is ripe for new and innovative approaches, particularly if the workers that will be using the hardware and the emergency personnel that protect the crew are involved early in the design process. Contact NASA Kennedy Space Center or the personnel below for further information.