Welcome, BBA program fifth semester learner. You are having a course on sales and retailing management. As you all know that course has certain units. In this video we shall take up unit one that is a very introductory aspect to the course introduction to sales management that is the title of the unit and this unit has got a number of learning objectives and in this unit what I will do I shall cover in this video all entire unit in three parts. Part one I shall take up some learning objectives. Part two again some learning objectives and part three some learning objectives and I hope after watching these three videos you will be able to understand the basics of sales management. Retaining management will come in the subsequent units first unit is basically an introductory unit about sales management and this entire video is based on the self-learning materials that you have already read or you are going to read. So, you can relate you this video with your self-learning material and you can converse on both of these two and you can concord as your learning. So, in this part one video we shall take up these three learning objectives one is define sales management you should be able to define sales management what is sales management then you should be able to outline the objectives of sales management why sales management is required what purposes does itself then we shall take up the third objective that what are the types of selling let us start one by one first we shall start with definition of sales management what is the concept of sales management sales management means managing the sales people you know in product price place promotion which you have already studied in marketing product price place promotion promotion comprises of personal selling so this sales management is basically the management of the personal selling function of the promotional mix it's not about advertising it's not about public relations it's not about publicity it's not much about sales promotion but sales management has got important thing as as we know marketing mix or promotional mix it's basically an integration so we cannot see anything in isolation all are interrelated but for the purpose of understanding we need to have an understanding of the isolated component also so what is sales management sales management is basically the management of the personal selling function it basically means managing the sales people the personal sales people effectively and efficiently to increase the sales volume ultimately basic objective of sales management is sales volume to increase the sales how do we increase the sales we employ company's sales people and how do we manage those sales people so that they can achieve the sales volume in the least possible cost so they will have to be concerned about the selling cost also as we all know sales minus cost is profit so they will have to increase the sales that is effectiveness part and they will have to increase the sales with least amount of cost that is the efficiency part so once again i'll repeat that the definition sales management means managing the sales people effectively means in terms of achieving results and efficiently means in terms of consuming resources means in terms of reducing expenditures increasing sales at reduced cost that is the purpose of the sales people so that the company's sales volume increases and profit also increases so sales management means managing the sales people effectively and efficiently to increase the sales volume and to make it more simpler the sales management is basically management of the personal selling function which is concerned with attainment of sales objectives sales volume at a less cost many times when we come across the definitional aspect we need to make a resort to the standard definitions and in marketing terminology many times we refer to American marketing association for this terminology because that is normally worldwide accepted and if you carefully go this is a higher level definition from the definition that's we have just now discussed and if you carefully go through this definition you will find a number of words which mean a lot and this is basically a comprehensive a higher level definition according to American marketing association sales management means planning direction and control so we'll have to plan we'll have to implement we'll have to direct and we'll have to control what of personal selling function which includes equipment of sales people selection of sales people equipping the sales people with sales in case of medical representatives they need to be given the samples to be presented to the doctors assigning assigning them to the territories of a geographical area a one salesperson cannot cover all the areas so particular geographical territory will be allocated to one someone another one to be suppose the long district is to mr x kamrub district is to mr y so assigning the territories then routine say mr x is in kamrub rural so today he will go to romia day after tomorrow he will go to nobody then the seventh day he will go to say some other places in the kamrub mat kamrub district so that is a routine how he will route his activities then his activities need to be supervised then that particular salesperson will have to be paid in terms of salary in terms of incentives and he will have to be constantly motivated so that he can achieve the goals so can he can achieve the tax allocated to him with this background let us read let us go through the higher level definition of american marketing association and self try to understand because this covers the entire gamut of sales management so sales management is what according to american marketing management american marketing association it means planning direction and control of personal setting that what should be made should be clear to you that sales management means planning direction and control of personal setting which includes what which includes recruitment of the salespeople selection of the salespeople equipping the salespeople means giving them the required selling aids maybe pamphlets banners samples gifts right then giving them certain territories then within the territories how they will route their activities supervising them motivating them and making compensation to them paying compensation to them for the services that they have given to the company so this definition you must understand to understand the entire gamut of sales management so what are the objectives of sales management objectives of sales management undoubtedly right over the years the objective of sales management is to increase sales is not it to increase sales volume to accomplish the targets so that they can contribute to the profit potential of the company because in order to contribute profit potential for the company they would have to manage the sales activities with least possible cost so managing cost and achieving sales volume these are the two main objectives and why do we do this in order to sustain in order to augment the growth of the organization so basically the objectives of sales management are threefold increasing sales volume then contribution to profit by managing the cost and by doing so contributing towards the growth potential of the company these are the objectives of sales management now dear learners after having an understanding of what is sales management what is the definition of sales management understanding what could be the objectives of sales management let us try to understand the different types of selling different types of selling in your SLM self-learning material there is a detailed discussion and in order to facilitate you to have a proper understanding you see there are three basically three types of sales person one is order takers they are just simply order takers they will not motivate much the buyers that you choose this you choose that right if you choose this this will be the benefits not much it's done to some extent but basically right in if you go to a restaurant right there will be the inside order taker or nowadays swiggy jamato etc they are the delivery sales people or it could be outside order taker somebody will be visiting house to house will collect the orders so they are basically order takers but there could be some right they will not collect any order but they will create the demand say take the examples of say our medical representatives they visit the doctors they try to communicate to the doctors about the company about the products so so that the doctors think about the products and in case of any patient coming across with the kind of ailment so they will prescribe the medicine and that will be made available in the pharmacy and the medical representative will see that the medicines are available in the pharmacy if the doctor prescribes in case of ethical pharmaceutical goods so they will be creating order not directly as such that is a kind of missionary selling and there could be right there is in case of say high involvement durable goods you are going to purchase a laptop so while going to purchase a laptop you may be interested in several features so the computer shop they will be giving you a number of alternatives different brands features and then you will have a discussion with them right you will apply your own understanding then possibly after having all these things right they will execute a particular order so order takers it's a it's not much of selling as such order creators it's a different kind of selling and order get us in which lots of selling conversation the seller by our diet dietic relationship takes place so dear learners we have discussed in this particular small video about introduction of sales management definition of sales management standard definition of sales management objectives of sales management and types of selling we shall cover the remaining parts of this particular unit in two other small videos thank you


Welcome to this episode of Talk of the Town, I'm James Malan and this is an episode that we always look forward to. We get to get an update about the Arlington Center for the Arts from its director, Tom Formicola, who has joined me before but always remotely, so I am pleased to have him here in the studio for the first time, getting to see what he looks like in the flesh and we have a special treat as well because Pam Shanley, who is the operations manager for the ACA, is also here. And we are going to talk a little bit about things, getting an update on things that have happened since we last spoke to Tom, it's been quite a while. And then Pam especially is going to guide us through the open studios coming up on November 13th, which is a big, big date on their calendar and ours. So first of all, both of you, thanks so much for making the trek, it's nasty out and you made it over here and we appreciate it. It's good to be here. And welcome, this is what our studio looks like, we welcome you back again in the future. Tom, just briefly, bring us up to date, you get to choose what it is that you'd want to share with us, but you know, the ACA is always busy. So give us just a sense of what's been going on a couple of highlights since we last spoke. Well I believe we last spoke in the spring. And so Pam and I have been through 10 weeks of vacation arts camp with children and teenagers that went really well, completely successful, completely exhausting. And we're feeling great about that. You know, it was great to have, we were running at about 80% capacity this summer and that's because of social distancing. And it was great to have kids back. It was great to meet their parents every morning and talk to them about how happy they were to be working with us again. And we had a great group of teachers. And we went from the last week of June through the first week of September. It was a really good summer. I do remember talking to you about summer of 2020 and what you were able to do with in terms of kids and camp offerings at that point. And it was clearly circumscribed for a lot of very excellent reasons. How did this compare to that? So it looked a lot like the summer before, but with more kids. So we're still, we're not operating quite the way that we were before, before COVID because, you know, because we're still trying to keep kids in discrete groups so they're safe because we're also dealing with like a pretty vulnerable population. Absolutely. And one that's not yet vaccinated yet. And so, you know, and so the kids are moving through the day differently than they were in 2019. We're hoping in 2020 things start to look normal again. 2022. 2022, yes. There you go. So I didn't want to skip that yet. No, but I mean, clearly, yes, we are marching we hope, obviously in the right direction and that being back to you, being able to offer things the way that you traditionally have. So we're next month, we'll believe it or not, open up registration for our February and April camps. And in January, we'll open up registration for our summer camps. So we're, you know, I mean, we celebrated finishing in one week and then started planning again the week following. Yeah, you know, I think for a certain number of folks in town, the ACA is all about what it offers for their children. And, you know, obviously these are parents of children of all different ages who looked to the ACA for that. But I think there's a whole bunch of other people in town who don't even realize how big a part of what it is that you guys do is geared towards our youth populations. Yeah. Well, and you know, it's funny you should say that because then there's a whole other population that don't realize that we do anything for folks that aren't youth, right? So it really depends on what camp pun intended, what camp you're in. Right, exactly. How you see us. Which is great. So it's a lot of different things to lots of different people. So anything you want to point out in terms of highlighting from these past months, in terms of your offerings for adults, so to speak? Oh, Pam, can you actually, can you answer that? The artist toolbox? You want to talk about that? Yeah. Well, one of the things that we've been doing this year, you can probably talk about it better than me, is, you know, we realized with COVID that there was a gap right away in opportunities for local artists. So we started to do some professional development workshops online for local artists to sort of help them cope with sort of the changing environment and prepare them better to like, you know, build their brand online and sell things online. And also, these are, what they learned will also prepare them for, you know, even when they're selling, marketing themselves when they're selling in person again. The idea was also to sort of prepare them for participation in our open studios this year. The nuts and bolts of like selling your work, preparing it, doing the PR, the stuff that we don't like to deal with. I remember, right. And I remember talking to you, Tom, in our last update about that being kind of coming up as an offering. And certainly, I've got to imagine that there was a response from local artists to that because it's a great kind of offering that you were making there. And I assume it went well enough. Oh, it went really well. Lots of positive feedback from the artists that were participating, lots of positive feedback from the teaching artists that were leading those workshops, you know, that have a pretty significant profile, you know, beyond Arlington, actually, you know, throughout the region, really. And Pam, you just alluded to the fact that it's the kind of stuff that you were saying we don't really like to have to deal with. And by we, I think you're speaking for artists themselves, of course, right, who, a lot of the time, just want to get to the work and don't want to have to deal with all the rest of this. And yet, how can really you get along? We're just overwhelmed by it, you know. It just seems beyond their scope. And we, like these workshops, broke it down into bite-sized pieces. That was the goal. Yeah, most artists don't become artists because they're really in love with the idea of, you know, the business part of it. And this obviously came about in response to conditions that we've been all, we don't need to speak anymore about. We know what we're talking about here. But can I assume that it's going to be something that you continue to do in the future? Yeah, so much, you know, we were talking before the cameras started rolling, so much of what we have started to do in the last 19 months are things that we will continue to do. Like it's impossible to think that there won't be a time when there's some kind of online programming going on.  But you know, there's a great big handful that will be offered online this fall. And then again in the winter, especially when the weather's bad, like, I mean, you know, apart from COVID, some people have learned that they have a preference for participating online because they don't want to travel in snowy weather. And most of our classes other than our ceramic can be done, can pivot online if it's a snowy thing. So that's fun, I mean, and challenging because we're still trying to figure out what the right mix is. Like what is the right balance? Like how much of, you know, how many of our offerings will be in person and how many of them will be virtual? I think we're going to be, you know, trying to figure that out for a little while. But we're not alone. I think all the folks that do work the way we are trying to find that balance themselves. I think you're right. And I think also there is that element that we have also found here at ACMI where once you are doing things online or remotely, you're expanding your potential audience so much and simply able to make certain kinds of offerings to a much broader population than you could ever fit into one of your studios or something like that. Exactly. So, you know, lessons learned and opportunities gained. You know, we all need to be able to identify things as positive things coming out of this whole experience, obviously. Pam, let me ask you before we start talking about the fall offerings that you were just mentioning, Tom, and specifically about the open studios. Because we haven't had you here before and therefore haven't had this opportunity, you are the operations manager for the ACA. So I hear a term like that and I'm like, I don't know what that means exactly. What is it that, so if there is any way to briefly summarize what it is that you do, is there a way? Well, basically I handle all the stuff, right? That's what Tom thinks of me as. Like, oh, and we need stuff. Oh, go ask Pam. She'll get the stuff. I help teachers get their whatever stuff they need and, you know, help hang the gallery shows and make sure we have everything we need for open studios and our off-site exhibits and all that sort of, I get the stuff part of it. We have an excellent director, of course, but we also have a communication person who does all the things behind the scene, so. And Pam is being modest. I mean, she's talking about the details of her job and I think it's easy to talk about the details because so much of her work is about details. But she literally moves us through the days and weeks and months. Like, you know, she's the person who sort of sees what's coming down the bike next and she's the person who's looking to see what all the pieces, what all the moving pieces are and trying to make sure that we're all, you know, working in concert with one another. That's nice. That's true. Let's go with that. Yeah, let's go with that. I would too if I were you, why not? But also it's max of, you know, that strikes me as being an inaccurate depiction and description probably of what you offer. Not only because it's part of your job, but maybe also just part of your personality. I have to say here at ACMI, I'm gonna give, I'm gonna gratuitously step right into our ACA update and give kudos to my colleague, Cheryl Bruce-Goulas who has the title here of administrative assistant. That barely scratches the surface on what she does for us around here in terms of very similar to what you were just saying and describing about Pam. We all need that, right? Any well-functioning workplace needs person or people who can pay attention to all the things that the rest of us are, you know, oblivious to or spacing out on or too busy to worry about or whatever. So. And Pam has a lot of history as well. I've been at the Art Center a long time, but it never felt, never feels like the same job. It feels like I've had about 20 different jobs because the Art Center has evolved and grown and so my job has evolved and grown and the things I do have changed, so. So speaking about changes in the things that you do, I know that you have run open studios or, you know, that the ACA has offered open studio, you know, yearly for a long time. Right, since 1999. And yet, this one is gonna be a little bit different, I assume. Every single one was a little bit different. Okay. This one we have at three different sites. Arlington Center for the Arts, Town Hall, and First Parish. They're all within walking distance, but we've never done three sites, but partly because of COVID, we needed to spread people out and at every site there's far fewer people than we would normally have, but we still have almost 60 people. 60 artists, yeah. Working on this, so that feels pretty good. And we have four sites if you count the Robbins Library, which is also joining the fund by doing a book and art cell of their own. So we really own, like, on November 13th, we own that whole block. I was gonna say, that is amazing that you've picked the four major venues in that one square block, if you wanna kind of look at it very broadly, and really gonna make use of each one of those. That's quite something, but what can people expect? I guess we're also interested to know, well, what are the changes, if any, or what is it that the artists themselves will be doing either that will feel different to them than it has before, or, and also for those who are going to be there in attendance, how is this gonna feel similar? How's it gonna feel different to open studios of the past? Well, we're delighted we can do it in person. Last year, we did it online, and that was great, and thank you, ACMI, for saving us and hosting us. But in order to do it in person this year, we're asking everybody wear a mask, and we're asking all of our artists to show that they've been vaccinated, or have a negative, what's that, what's that? A negative COVID test within 72 hours. There we go, back. And not just our artists, but our audiences too. All our visitors have to show it too. So everybody who's present. Everybody's gonna be participating, yeah. Be packing a vaccine. For the indoor programming. And so what Tom's alluding to is that we have a bit outside and a lot inside, and we'll start with Town Hall just to get us started. And Tom's, when you do an event like this, it's not just one person, it's a small army. Like Annalise Ruggles, our communication director, she's doing magic online behind the scenes. She did the card for this event, this beautyist card and posters. Yeah, we'll show that card there. So, and Tom actually has been spearheading our music component, which is sort of a mini porch festival. Turn that to him. So we, as you know, we haven't been able to do porch fest the last two years for a host of reasons. And, but we are committed to doing it in 2022 and we have a date. Saturday, was that? 2022, Saturday June 18th, it will be. So we're thrilled to be able to announce that and we wanted to announce it early. And in the meantime, we're hosting a porch fest stage as part of our Open Studios event and that porch fest stage will be on the steps of Town Hall. So it's outdoor performances, bring your scars and your mittens, that will happen throughout the day from 11 a.m. until 5 p.m. We had a, we brought together a committee of porch fest volunteers and participants over the years and we did a call to local musicians. And we got 32 applications and we picked just four groups who will each play for an hour that day. We're super excited to have them. There'll be some jazz and some rock and roll and some folk and a little bit of bluegrass too. Wow. Wow, that is, that sounds great. Although I also commend you on your boldness for setting up an outdoor concert on November 13th in New England. Truth be told, like Pam and I talk about this all the time, I worked at First Night for five years. So weather doesn't scare me. It terrifies me. So it's a lovely kind of... Exactly. Really good for your dynamic, I'm sure. Tom's like, yeah, we can do that. You got it. Oh no, we can't do that. But we do have a backup site in case it does... If it's rainy or the weather is really prohibitive, we're going to the First Parish Church, we'll be in the sanctuary that day. Wonderful. Wonderful. So people who can count on music, you know, musical entertainment throughout the day. But I'm really gunning for outdoors. Yeah. Again, if it's just a question of bundling up, then I'm sure that both musicians and audience will be happy to do so. Yeah, yeah. So you've got that going on just outside of Town Hall. But inside Town Hall, we have 25 plus artists. And one of them is Anna Tai, who does this beautiful kind of embroidery. And usually think of embroidery as something small, and this is a delicate little pennant she did. But she also decorates clothes. And when I first saw her, she showed me a piece of embroidery this big. And at first I thought it was a painting. And then you get up close, and you see how she's taken threads and woven the hues of color with thread. It's just fascinating to see. And I think she does this 24-7. So at Open Studios, she'll be just all day long working on it so you can kind of go and see what she's doing, working on that. And this is just a lovely, lovely little piece she made for me. Yeah, as you describe the process even briefly, I'm thinking, oh my god, that sounds as labor-intensive as it gets in a lot of ways. But she just does it. Time-intensive as well. So we'll all get to enjoy watching her work for a bit. Yeah, and she gave Tom and I a little... She's so generous. She gave Tom and I a little thing that's in his office. A little gift flasher. Just a little...  Right, and again, just judging from how you've described her process, it sounds like even a little print, as you said, is the result of a lot of labor and love. And Anne is just one of many. And I brought a few things that I had from home. Another, there's a number of fiber artists and this is Beverly Hinckley and she does quilts. So we have several quilters actually. We have Rising Star. There's another one, but she's at a different site. So that's Martha Ingalls. She's going to be at First Parish. So we have a woodworking person, Gary Holly. And I think of him as a wizard because he has these beautiful wooden bowls and then he embellishes them with this magic surface on the rim. And I can't tell you what he's going to do because every time he's always experimenting and he's always changing. And that's what I love about Anna and Beverly and all the artists in Open Studios. You think you know them and then they come with this whole new set of things. Another artist in Open Studios is Betsy Cogswell and she does felt. So this is a pillow she made and I had it at home and it's very comforting. Yes, it looks like it has already served its purpose for a while. It's been loved by my kitty, but anyway. And we have Jewelers. We have Sharon Stafford. She's a jeweler extraordinaire because she uses wire and she creates woven vessels out of this wire. She creates earrings and she also does a line of ornaments for like holiday sales like this. One on my Christmas tree every year. And so her work is exquisite and we have, oh, what else do we have there? It's a wide variety of materials. There's of course print makers, people who draw, people who paint. Just trying to think of people who pop out. Oh, I know, Jen Flores. She's a painter, but she does clothing. So you can imagine if a painter is making clothes, it's gonna be a different vibe. So that's wonderful. In Chicago, she does these kicky little skirts that are fun. We have a bunch of artists. That's just Town Hall. And there's poetry on the second floor. So there's music, poetry and visual arts and the poets are only there from one to three and that's just Town Hall. There's two more sites to go to. Yeah, with great stuff. And again, like people can come and watch demos, they can come and we're hoping buy art and support our local artists. And it's November 13th, it's time to start thinking about holiday shopping. Yeah. Because early this year. Well, it's kind of perfect timing for those who are a little bit more prepared than myself, for instance, when it comes to holiday shopping. I'll see you on the 13th. That will be a great help, that's for sure. But a lot of people don't buy at Open Studios, but they think about it and then they contact the artist later. We're hoping they buy the day of, of course, but it's kind of a gift that keeps giving. And obviously with 60 artists, as you said, you've picked out a few who came right to mind for different things. Right, exactly. And things that I had at home. Right, exactly. But clearly you're going to, you know, the audiences, the kind of roaming audience among these different sites is going to find something to love in every one of them. But you're going to find diversity at every site. Like at First Paris, there's some ceramic artists. There's a glass, a couple of glass artists, jewelers, painter, collage artist. So there's at every site where there's ACA or First Paris or Town Hall, there's a mix of medium. You're not going to find like one room of painters. It's all kind of diversified. My sense is that Open Studio is a, is a big moment in the ACA calendar every year. Is that, is that accurate, Tom? Yeah, I think it is. You know, it's certainly like one of our, I mean, I refer to our signature events and they include certainly Open Studios and Porch Fest. I mean, there are events that like the community, and I mean, the community really looks forward to year after year and we look forward to presenting year after year. Part of our mission is building community. Those events like have everything to do with that. And a lot of what you guys do is of course geared towards either, like it is offered through the form of classes or workshops or things that invite specific populations in and do some training, do some, you know, have some fun, et cetera. But these events that we're talking about, you know, Porch Fest again, already date set for June 2022 and we'll hear more about that plenty more in future iterations of this update and in other ways. But that in Open Studio, as you just said, that's for, you know, everybody. But it's for the artists who are visual artists, musicians, the public.  It's very accessible. Like even if you don't know it's happening, you might stumble upon it. But everybody will know it's happening. Yes, of course they will. Gosh darn it. Here we are at ACMI. But they got to be packing their vax card and the mask. Or have a picture of it. Or have a picture on their phone, which is what I have. Yes, please, please. Let's take a moment and just make sure that we can make it very clear for our audience exactly what we'll do and what won't do. So I know you've already said the different pieces, but go ahead and kind of give us one synopsis of, hey, if you're thinking about coming, here's what you need to know. Yeah, so you need to either have your vaccination card with you or you need to have a picture of your vaccination card. Both will do. And the picture can be obviously, you can just take a picture on your phone, show your phone. And we'll be just asking, when you enter a space, we'll be asking you for that. Obviously, for outdoor performances, we won't be doing that because it's impossible to do that outdoors. But for all of the indoor activities, we'll be asking for folks to share that info with us as they enter. And also, if they don't have a vaccination, they can also show us proof of a negative COVID test within 24 hours. One of the PCR tests because they're time-stamped.  And then you can go into ACA or first parish. Like you don't have to go through it again. Right, so the first time, right, the first time you enter. I didn't know that. Well, I just found out about it. Well, that seems efficient. We're trying to figure out ways to make it streamlined. We know it's an inconvenience, but we also wanna keep our artists safe and we wanna do our bit to keep our community safe. And frankly, it is a very familiar inconvenience for virtually all of us. But we're live. Right, I mean, Arlington's a pretty special place. I mean, it really is, I've said that to you before, but it really is. You know, we started doing this in September with our classes. Like, so folks that are coming to our classes or to an exhibit, we're also requiring vaccinations. And we were prepared. I mean, we prepared ourselves to answer questions and to talk with folks that might feel frustrated or upset. I haven't really had any of those conversations yet. And we just had that gallery show that opened last Thursday for real. And so on, so everybody pretty much, I mean, it was only a few people who showed up and didn't realize they needed to bring that. They were very understanding. They're coming back to see the show another time. But the show was so successful that we actually had an overflow crowd. We had to have people waiting in the hallway to go in. I mean, I've been using the phrase return to community celebration a lot. And boy, this really felt like people were ready to return to a community celebration. Yeah, so I'm not sure if we actually said what that was. Like, I know we talked about it before we went on air, but I'm not sure if we've talked about real. That's your opening time. Great. I got it. I might need to help. We've only got a couple of minutes, but. So we just had our first gallery opening in like nearly two years. And we have a great exhibit. It's called Real. Pam, I'm terrible under the spotlight. It's co-curated by Dan Ciaferini and Gwen Chason. And it was juried by Fill Young. Thank you. They've done fabulous work. It's about 50 works by almost as many artists featured on our walls. The work is tremendous. And there's so much talent out there. It was really interesting. We didn't have anything to do with the selection of the art, but we collected it for the jurying process. And there was so, so much terrific stuff that didn't even make it into the show because there was so much stuff and we only have so much wall space. But after the jury, the jurying was done, we all went into the gallery and we're like, well, not that piece. They didn't choose that. I mean, it really was. Right, you went to look at the rejection and you were like, what? Right, there was so much good stuff. We're gonna put that one in. And that'll be up during Open Studios. Yeah, and it'll be up through January. And so we're still asking for visitors to make appointments to come, but we have, I think it's Wednesdays, Thursdays, and Fridays every week. And if somebody can't make it during that time, they're always welcome to contact us and we will schedule a special time for them to come in and take a look. So you're actually looking at 50 artists plus the 60, so there's 110 artists in the show. Right, you mean between the Open Studios and the Galleries. And the Galleries. That is, that's a great way to look at it. So we only have almost literally a minute left, but I wanted just to invite you to, anything that we haven't mentioned that we should have, I know you had talked about fall programs that are going on in the way that they have before. I can see that you also have a postcard there for. People sometimes think that if they, if they haven't registered in September that they've missed the boat. And that's not true because we actually have classes starting periodically across the whole term. Because some classes are nine week classes and some are four week classes. And then we have some one session workshops too. I can tell you there's two things that people have been calling a lot about lately and that seem excited about. We have a music appreciation class called Composers in Exile that Dottie Bursting is leading for us. And people seem really excited about that. The other class that's coming up is a wreath making class that people seem super excited about. And it's making a wreath with found materials. So we're not talking necessarily about like your very kind of traditional holiday wreath. Though, artistic license might lead you there. Right, but found materials perfect for this community and this time. No doubt about it. All right, I'm gonna have to rather abruptly wrap things up here. It has been great to talk with you both. Pam, thanks so much for accompanying Tom for this particular trip and we hope you will in the future as well at some point. Tom, great to see you. Pleasure. I have been of course, speaking with two of the luminaries over there at the Arlington Center for the Arts. Pam Shanley, their operations manager and Tom Formicola, their executive director. This has been the ACAA Update. I'm James Milan. Thanks for joining us. We'll see you next time.


So, I work on the Syndium Epigraphic Database, which is at the moment basically a repository of Sanskrit inscriptions from India, but the plan is that it will in the future include non-Sanskrit inscriptions and some also from outside India, so broadly from the geographical region covered by our project, which is south-southeast and central Asia, possibly in the distant future who knows it might expand to other areas. Essentially, most of the work I do is just digitizing pre-published inscriptions, so there's very little brand new research involved and for that reason perhaps my sort of data management might seem to be very simple. What do I do? I take a printed edition of an inscription, I encode it in an appropriate way, it becomes a digital edition, which is then disseminated on the one hand through a dedicated website Siddham.uk, which is conceived as a dynamic thing, which is also a tool, a research tool and it's also disseminated on Zenodo, which I mainly see as an archive, as a static archive for my work. So, the backbone is the text. A text when converted into a digital edition looks like this, it uses the Epidoc format which has been mentioned yesterday and which I'm not going into, it's a subset of TEI XML, specifically geared for working with inscriptions. Now, of course, things are not as simple as they look at first. So, in case we wish it were that simple, no, it is not. An inscription is of course not just a text, even though I'm basically a philologist, I must admit that an inscription is a lot more than a text and therefore it comes with a lot of baggage, a lot of metadata that we need to treat, that we need to work with. So, the way this talk is going to be set up is first I'm going to try and be very brief, but I have to explain what sort of data I work with and how they fit together. I've done previous talks on that and there are some people here who've heard a previous talk of mine in Vienna about that and I really try to summarize that bit very quickly and concentrate this time on how those data are managed right now, so within the project and within my own workflow what things look like. But I have to go into a little bit of an explanation of the data anyway first. So, we've got metadata, they include data about the object bearing the inscription, such as how big it is, where it was found, what museum it is kept in. There are also physical data about the inscription, such as what size the inscribed area is, what its characters look like. We've got some internal metadata about the inscription, such as what date it was composed at if it has a date or if it can be estimated. And in addition we also got bibliographic data where the inscription was first reported, who has edited it and where it was published, and major articles and books discussing the inscription or its text or some kind of implication of it. We're also working with images although this has not been a high priority. We haven't been actively trying to amass high quality images, but I've been trying to at least keep track of the images I have worked with while re-editing texts, while re-editing the inscription texts. I had to look at facsimiles and photographs and I've been trying to archive those. And in addition to these there are some, to my mind, very easily conceivable, very easily realizable additions that we can make to these. There have been some steps made toward adding translations, pre-published translations, but new translations could just as easily be created if somebody is willing to do the work and re-translate the inscriptions. I'll do some of them myself and anybody is welcome to do others. Commentaries can also be added to the inscriptions. There's a lot of great data. There's a lot of half-baked commentary that have been writing as notes for myself while re-editing the inscriptions. They are not ready for the public, but they are preserved and I'm hoping to be able to convert them to a semi-readable, more than half-baked commentary at a later time, or we could add geolocation information. So how do the metadata and the texts fit together? First of all, there is a way to include the metadata in the XML itself and perhaps that should be sufficient. Epidoc has been designed with that in mind. A part of the file called the TEI header can include metadata, but the main problem I see with that is that it's not really object-oriented. It's very much text-oriented and in particular there are cases, not many admittedly, but they're definitely there, where for example you've got an object which has several different inscriptions from different periods of history, or you might have an object that consists of multiple parts, either because it has been fragmented, broken into several parts, all or some of which are still extant, or because it was conceived as a composite object to begin with, for example a set of copper plates, copper plate land grants. And to be able to represent these sort of complex relationships, several inscriptions on one object, one inscription on several objects, it's probably easier, at least from our side of view, to not just use Epidoc as the primary medium, but instead to conceive of our data in a way that there are several databases, basically an object database, an inscription database, and the bibliographic database, or a bibliographic database table, plus bits of edition, edition snippets, XML snippets, that just contain the text edition, and the website, the Sydom website, can work from a combination of these. When you visit sydom.uk, or when you visit sydom.uk a couple of weeks from now, when it works better than it does right now, it's coming, I'm told. So, at that time, what you see in your browser is what the website engine has put together from a bit of an XML, plus the databases, and eventually we hope it will also be able to export Epidoc, so that the exported Epidoc contains all the metadata for that particular inscription, but that will be generated on the fly, I'll come back to that in, I don't know, 10 minutes or so. So anyway, very quickly, we might have an object database, so here is one inscribed object, the big pillar on the right, and there are metadata recorded for them. Can you, we don't actually need to be able to read the small print, but is it legible? Okay, I'm glad to hear. So that sort of data are recorded about an object. Similarly, we have an inscription here, that's what's written on the pillar you've just seen, and we've got metadata recorded for it, so that's inscription metadata. And then we go on to the bibliography, which is meant to be recorded as a database record, but in a way that is compliant with a structured TEI bibliography, so that again is something we don't have yet, but what I hope we will be able to achieve is that the website will be able to actually export a full bibliography, perhaps even a partial bibliography in TEI format. TEI bibliography lets you use analytic and monographic levels with different bits of information recorded for each, and so what we have right now is we have references to the bibliography in various parts of the database, there is one for example to what I classify as a book, although it's in a bit of a shady area, and there's a corresponding entry in the bibliography table at the monographic level. There's another bibliographic reference over here, which is to a journal article, there's a bibliography table entry for that, and even within that bibliographic entry, there's a reference to the journal, which will again be something on the monographic level from a TEI bibliography perspective, and there's a separate entry for that. Similarly, there are analytic entries for book chapters and monographic entries for books, which I'm not showing here. And of course, there are the images, which on the one hand need archiving and perhaps some retouching enhancement, and on the other hand I need to record basic metadata about the images. So for example, for the pillar and inscription that you have seen, I've got a couple of images, basic metadata have been recorded for it, and we can all, we can show all of those images on sedum.uk. So yes, basically to show you in an image what I have set so far, we've got an object database, we've got an inscription database, each involves, each incorporates metadata about the object side and the inscription side. The inscription database sort of draws in the XML snippet, which contains the addition, and potentially it could draw in also a similar XML snippet with the translation and with the commentary. Objects can consist of multiple parts. So there may be component objects, but there's always a sort of hypothetical or virtual superordinate object, and it's only the superordinate object that is linked to an inscription. So if an object consists of parts, then it's always the master object, the parent object that is linked to an inscription. I don't want to go into any more detail than that, except to quickly mention that in this way, more complex relationships can also be represented in a fairly simple way, which does not of course map to all the intricacies of reality, but I believe this level of complexity is sort of a good midline for our purposes. So to go back to my previous outline of data management, that was the simple view, and well that is what actually happens. It's a bit tangled, and I hope it can be simplified a little, but let's look at a few parts of this diagram. So first of all, to get presuming all the sources, I'll even try to magnify them, which I think I can do here. Yes, I can. That's a simple bit. People have talked about similar things before. Basically, I've got a printed edition to start out with, but to some extent the printed edition is supplemented by fieldwork research, which I might do, or someone from the project might do, or at a later time someone from outside the project may do and contribute. Images and metadata are all sourced from the printed publications, but may also be supplemented or augmented through fieldwork, and both or three of the images, the edition and the metadata go their own separate ways. What ways are those? So to close in on the main thing we are doing, or I am doing, transformation and what we produce vis-à-vis digital data. Yeah, okay, nice. Almost nice. Over here. Basically, not much to do with images at this stage, a bit of both processing and recording the image metadata, as I have shown before. For the edition, that's quite a lot of work, but we don't need to go into the details. I need to add all the markup for the Epidoc XML to produce this Epidoc edition snippet, which contains just what you call the edition division in the Epidoc file, but not the TEI header. Metadata needs to be recorded in a structured way. We now have the table to do that, so it's pretty straightforward to record the metadata. Now, once they've got the snippet and we've got the structured metadata, that's sort of fuel for the Sydom site to work with, but it's not really what we want to archive on Zenodo. When we're archiving things on Zenodo, we want to put up things that are more compatible and more transparent, and the best way to go about that is to produce those full Epidoc edition files that I mentioned at the beginning, which actually contain all the metadata for the inscription in the TEI header. This, of course, results in some level of redundancy, so if there's an object, let's say the Junaga rock, which has an inscription by Ashoka and another inscription by a vassal or a furitory of Skanda Gupta, then the metadata for that rock will be included in the Epidoc editions for both of those inscriptions, where so far, since we're working on the Gupta period, we don't have the Ashoka inscription digitized, but we do have the Skanda Gupta inscription digitized. In future, somebody will hopefully add the Ashoka inscription, and at that time, when somebody gets the Epidoc files, there will be two Epidoc files containing data about the rock, but I mean, we'll have to look with that. So anyway, we need to incorporate those metadata in the XML file. Now at the moment, Get and Reeze does that, sitting at the back here. He's been kind enough to write a script which can extract the metadata from my tables and put them into the XML files, creating, sort of merging them with the XML snippets. Yeah, I think that's about Kabezid. I haven't talked in detail about how we publish and archive the images and the bibliography, because that's sort of still in, what's the word, still in the works basically. So how does this metadata integration thing work? On the left-hand side, you can see the basic structure of an Epidoc edition. It has a TV header where I've written stuff goes here, and then it has a body part, and the body part contains different kinds of divisions. And so the edition division can contain the pre-made XML snippet for the text edition. The translation division can very easily ingest a translation XML snippet if somebody creates one. We've got a number of translations typed up by subcontractors, but we are not yet in XML. But since we're not going to be adding a lot of markup to these, and a very basic markup-like paragraph structure, these can be created in a matter of hours for all the translations we have, once we have the means to incorporate that in the Epidoc edition. And similarly, we can do that for a commentary and for a property bibliographic reference list to a most bibliographic part. So what I showed you before as Epidoc is actually the edition snippet that goes in the edition division. And similarly metadata from the table go in the Epidoc header. So for example, in the Epidoc header, there's a place for a title, and the title of an inscription from the metadata table goes in there. Or the Epidoc header has a place for an inscription identifier, an id number, and our internal id number goes in there. I should probably talk a little more about the id numbers, which are sort of key to keeping track of all the work we do, but the essence is that it's just an arbitrary number. It could be any sort of number which come up with in for inscription numbers and ob for object numbers in five digits in addition to that, and that's a stable identifier for all the inscriptions and all the objects in our database. And every file that is in addition to the metadata tables, such as XML files with the inscription additions, and in future, possibly XML files with translations or XML files with commentaries will be identified using that number. That's the essence. At the very beginning, I thought for some time, just as Mark talked about his dilemma yesterday about how to put the few inscriptions in sequence, would there be any point in like, okay, let's start all the Gupta Dynasty inscriptions by IM005. There isn't really a point, because on the one hand, sometimes the qualifications are not quite clear. How do you know if an inscription is Gupta Dynasty? Okay, let's suppose it's by a Gupta vassal, but maybe he was also a Vakartaka vassal, or who knows, or maybe just don't know who's vassal he was. And on the other hand, you can't account for new discoveries. So, okay, you can always leave a number of empty slots, but there's just no point. It's just a number. It doesn't need to be meaningful. The inscription identifying number doesn't need to tell you anything about the inscription, or the object number doesn't need to tell you anything about the object. The metadata do that. And the ID is just an ID. Okay. Yeah. And then object time can also go in there. It doesn't matter. So, how is the work shared? Well, most of it I do myself. As I mentioned, get in, thankfully, does the metadata integration. What complicates the picture a little bit is that we now have subcontractors who take up some of the partial tasks, such as encoding published editions in XML, recording metadata in our structured tables, or typing up translations. And we've also got some contributions from project members and in future, hopefully from people outside, who will either like post corrections to metadata or submit photographs or rubbings or whatever images to us. All these data are mainly stored on Google Drive. And for all kinds of data, there is one master version for which only I have edit privileges and everybody else can only view them. And everyone else has view access to the whole of the dataset. But basically, when, for example, a subcontractor uploads like an XML they have transcribed or a metadata partial table that they have filled out, then that comes up to the Google Drive. It comes down to my computer. And it's I who merge that new input while verifying it. I merge it with the master set. So the master set never gets changed, never gets overruled. It only gets gradually expanded. I mean, never gets changed or overruled by multiple people at the same time. I think this Google Drive thing is good for our purposes at the moment. It's safe enough just in my own household. It syncs daily to three separate hard drives, plus the copy in the cloud. And I do hope that I'm not certain that some of the other project members, including some of the PIs, actually sync it down to their own local hard drives sometimes and don't just keep it in the cloud. But even if it's just in the cloud, plus on my hard drives, that's probably safe enough. And every now and then, the unfinished or work in progress fires are also archived on Zenodo. Now, a little more about what I hope will simplify this workflow in the not so distant future. Work is going on this. As I said, the Sidham.uk website is a bit rudimentary at the moment, and there are bits of it that are broken, but it's being improved. And one of the main things we're hoping to have in the near future is a working CMS, a content management system. And the content management system will basically simplify our workflow in two ways. One of those ways will be, thank you, one of those ways will be that we can get rid of the Excel file and the Word doc and whatever that I have on my Google Drive. And the master version will be simply the version that is on Sidham.uk. Either I or a subcontractor, anyone who wants to add something or correct something, can directly correct metadata or inscription bits into the Sidham site through the website interface. And the same content management system will, I hope, take care of what GetInManually or semi-automatically does now and create those exportable full Epidoc files that contain metadata in the headers, which can then be either downloaded by end users or can be at regular intervals, archived into Zenodo. That's all I was going to speak about. Thank you. Questions? Please. I have a question. Maybe I missed this, but you mentioned Junar. So, for example, for Junar, we have Harry Fault's book, which contains a great deal of detail about the physical site, contains GPS coordinates and not an edition of the inscription, but a lot of material about the surface. It seems like when you have that kind of information, it would be what I heard you say is we could maybe in the future, whatever, but that information is already available and known to be reliable. Yeah, yeah. Okay. For most inscriptions and most objects, there's a lot of known and reliable information out there. There are two things we can do. One is to duplicate at least part of that inscription in the website, inscription, part of that information on the website. And the other is, of course, to just include bibliographic reference. So, obviously, I mean, there are entire books dedicated to some of the objects or some of the sites, and we're not going to transcribe all the texts of those books. I mean, even if there were no copyright restrictions on that, manpower restrictions would prevent us from doing that. So what we want to do is basically to become, on the one hand, an index with a bibliography. Yeah, that's where you go for more information. And on the other hand, the website is also a tool for working with the inscription. You can click and display the inscription as a diplomatic edition. You can click and display it as an amended editorial version and, hopefully, you will be able to search in the inscription texts or across multiple inscription texts with various restriction criteria. So that's what we want to do. Obviously, we're not going to be able to ingest every single bit of information and put it out there on the web. Does that answer your question? Yeah, no. I mean, it's not a kind of question where there is an answer to it. I mean, it's really an ongoing question how much in any kind of project is how much you want to send your users to something else for everything, right? And how much you want to, as you said, ingest, sort of. And I wonder, I mean, obviously, ideally, all the inscriptions get re-edited, obviously, but there's a lot of material, for example, for the older publications, which is basically public domain, which could be actually, you could actually upload the publications into the system itself. You could. Indian Antiquary, for example, I believe. You could upload the publication itself, but I'm not sure it's worth the while. I mean, what we're trying to create here is something that's machine readable. Now, okay, somebody has scanned Indian Antiquary. It's out there on DLI, or DLI is no longer extant, but it's there on archive.org, most of it. And people can hopefully find it for themselves. But let's say a portal outside Sidham will not be able to read the scanned Indian Antiquary that I upload to Sidham. So, yes, it would be nice. It would simplify some of the people's work a little. If we, at least, for example, linked to IndianAntiquary on archive.org, but that's not the main thing we're interested in. It's something that, I mean, if this whole thing takes off and it becomes really a sort of crowdsourceable venture, like the Chinese text, for example, then I hope that users and outside contributors in the future will add links of that sort. Okay, this Indian Antiquary is actually, that's the archive.org link where you can download it from. It's not prior to right now. Yeah, that would... Yeah, are there any aspects of what you're doing here, which would... Because you know, the archive that you're kind of using here is relatively small and graphically compared to later periods and other regions in India. And there you're faced with other issues with, for example, where large numbers of inscriptions are unpublished or only available in establishes at the ASI and so do you think this would be expandable into those kind of... I certainly hope so. I can't really predict the future. The way I feel about this is we're at the start of something really big. It's like the little rocks that begin to slide from mountain top to become an avalanche. And some of those little rocks will not be part of the avalanche. And some of those little rocks will just stop on the way down. But I'm hoping to be one of those bigger rocks that will actually generate the avalanche. I mean, all of this kind of work will be a lot easier at ten years from now. Several times now in these... During this conference I've been reminded of Douglas Adams, who's... I forget the name of that hero, but he... In his youth, he spent, I don't know, three days trying to make the computer play three blind mice. And when asked, was that... Wasn't that very futile? He said, well, no, because it taught me a lot about working with computers. So, I mean, right now what we're trying to do is pave the way to make this kind of work simpler. And as it gathers momentum, I think maybe five years from now, either for me or for someone else, adding 10 inscriptions, for example, to a similar database, will take as much time as it takes for me now to add one inscription. And in 10 years time, maybe somebody will be able to add 10,000 inscriptions in as much time as it takes for me to add one now. But first, we have to do the groundwork, and that's what we're doing now.


Well, this is a lecture on unbalanced detection. In fact, this is the first of the series of this module wherein after having understood the rudiments of signal processing and of course, the elements of machinery maintenance and condition monitoring. We are now specifically coming to how do we detect different kinds of faults in rotating machines and to begin with we are going to start with unbalanced the most common form of mechanical defect in any rotating machinery. Well, now before we begin into this lecture, let me tell you what we mean by unbalanced. As you all know in this machines of ours, we are always going to have shafts which will be rotating and these shafts are supported on bearings and these shafts will be rotating at very high speeds, low speeds whatever. Now, if for some reason there is an unequal distribution of the mass which is rotating around this central line, geometrical central line of the body and there is a small mass m. This mass because it is not uniformly distributed is going to give a force m omega square r and this force is going to be radial in nature, going to be a function of the speed, function of the distance of the unbalanced location from the center of axis and because of this extra force which is coming on to the system the rotor of the shaft in this case, there will be extra reaction forces or in effect the bearings are subjected to forces much more or beyond what they were initially designed and selected for. When a designer selects a bearing they know the radial loads coming to that bearing and then they design and select and design the bearings, but on top of it if I have this extra force they are going to add to it and another problem you will see is this force is not a constant force as a function of time, since it is rotating this force is also fluctuating. So, this compounds the problem fluctuating force. So, if you will recall your random fatigue design of shafts because of such fluctuating forces the material of the shaft is going to fail quickly in comparison to the case of a static force. So, presence of an unbalanced force leads to such excessive fatigue force and then that leads to a failure of the system. So, now let us look at it from a different perspective let us look at a desk which is rotating this has an initial mass has a mass m rotating. So, this has a radius r at some location E I have a small mass sorry small mass m at a location of E. So, the amount of unbalance can be unbalanced force can be written as given by this expression. So, we can define the for a particular take this back here I will define the unbalanced mass I will come to this expression later on wherein we can define the amount of unbalance I will first define it and then come back this slide. Now, this desk could be thin which is rotating above the shaft thin disk with an unbalanced mass here. So, in this case if I support this desk on knife edges like this and this is going to always come down because of gravity this location and this is the case of a static unbalance where the forces are only in one plane unbalance force is in one plane. Now, imagine instead of this desk I have a long rotor like the rolls of a paper mill if I have an unbalanced mass at this location and if I have an unbalanced mass at this location. So, this is giving me an unbalanced force in this direction and this is giving me an unbalanced force in this direction. So, my from a force point of view this is balanced, but you see this because they are in different planes they give rise to a couple and this is what is termed as dynamic unbalance some in some books or some literature they say this is a couple type of unbalance and then they have a dynamic unbalance where these forces are actually inclined to some axis, but in our class we are going to treat one as the static unbalance and other as the dynamic unbalance. So, in the case of static unbalance you know it is very easy to balance it by estimating what is the amount of unbalance I can put and another mass opposing to it and then balance it. In the case of dynamic unbalance just balancing these does not happen we have to balance put some more weights in another planes. So, that the couples are also reduced or couples are balanced we will come to dynamic unbalance later on. Now, of course, one of the fundamental assumptions we are doing in this balancing is or unbalance is these are rigid rotors, but you know from our class of the rotor dynamics that the rotors have many degrees of freedom and then they have they have need to be treated as flexible rotors, but as long as the operational speed speed of the rotor is less than the critical speed of course, to begin with the first critical speed I can consider it to be a rigid rotor and balancing at one location or putting weight at one location balances the shaft, but when I talk about you know steam turbines or gas turbines where there are where it is a long shaft having sets of compressors vanes and turbine vanes these are long shafts and as you know there will be many critical speeds critical speeds. So, balancing may not be possible in one plane because if I think of the mode shapes of the shaft and many speeds this could be a mode shape this could be the second mode shape this could be the first mode shape and so on. Sometimes because of mode locations this may have no motion, but then if I balance here try to reduce it, but then I am not doing anything here. So, in case of flexible balancing we have to balance in different planes and of course, you know we always should not run at the critical speed away from the critical speed just so that we do not have the conditions condition of resonances, but in this class our attention is focused to this rigid rotors and we are looking at operational speeds less than the first critical speed. So, balancing can be a very very complex phenomena when you are talking about long rotors large rotors when there are sets of disc could be compressors could be turbines could be you know some sort of blower fan sets when if it is a long rotor it is a flexible rotor there will be many critical speeds and it is a difficult task to balance those multiple in balancing. Though people do that there are software which you can do that, but in this course we will focus our attention to very simple may be a Jeffcott rotor with a shaft which is rotating below the critical speed it has a disc which has an unbalance mass how do we balance it and what are the effects of it and how do we how do we detect such unbalance and that is the first part which you need to look into it. Well, before I go in going to how we detect the unbalance what are the possible sources of unbalance one of course, if if the component for example, many many components in rotating systems are casted for example, in an automobile flywheel is a very very important component in a in a IC engine could be particularly in the single cylinder or two stroke engines couple of cylinders of course, if you have more number of cylinders the cycles are balanced and then the flywheel will be will be of a lesser size, but I am talking about a single and a four cylinder three cylinder engines wherein the flywheel is mounted after the clutch sorry after the crankshaft so that we reduce the cyclic engine variations and imagine such a flywheel has an amount of unbalance mass. So, this is going to give an unbalance force onto the shaft and this is not desirable and usually flywheels are casted. There are many engineering applications I will tell you for example, you would have seen the alloy wheels in the automobiles wheels on particular they are the rims say on which we have the this is the tire this is the rim and this could be an alloy wheel rim and which is actually casted you can understand if this casting has a defect or there is some sort of an unbalance mass every rotation of the wheel you are going to get a force like this and imagine the scenario it can be complicated if you have a vehicle which four wheel drive or four wheels and everyone is giving a force they may not be in phase and one is giving the force in this direction other is giving it in this direction other is giving it in this direction other is giving it in this direction. So, imagine you would have an erratic motion of a vehicle and these are undesirable bumpy rides forces coming from the wheels because of unbalance. So, I am sure all of you must have realized it or witnessed when you buy a tire and we mounted on the rims or rims they have and if you go to any automobile garage they have wheel balancers they advertise that because and then if you notice particularly not in the alloy wheels from the front you cannot see, but if you go to the casted steel wheels you will see a small amount of weight given here depending on because of the balance they would have attached a balancing weight to it. And those of you who are riding bicycles must have experienced it if you have a bad tire we always do that when we are students if the tire was weak we did not have enough money to change the tire we would go to the cycle guy then you would put a layer of cut tire in between and then you would have a patch work and then if you rode that kind of a cycle you would get a periodic hits on your seat bumps this is because of unbalance. Now, imagine if this kind of things rotated at very very high speeds omega the forces will be very very high and this forces are finally taken up at the supports. So, bearings will be subjected to fatigue damage and then they will fail much quickly. First is unpleasant ride quality in vehicles and then bearings will be getting subject to fatigue load this will be this will be not good for the machine on cycle or automobile in this case. This is true for the case of fans and blowers particularly in industries I will come to that this in just in a while little bit. So, one possible source of unbalance is whenever we have casted components there could be a casting defects blow holes which leads to uneven distribution of the mass and thus we have the case of unbalance. One is another one the next one is the case of certain installation issues imagine we have a large system and which has to be put in place perfectly between the bearings and they have to be in the geometric central line of the system. Now, imagine if you imagine if this was not in the central line and there was a slight offset. So, this is going to give rise to unbalance. So, when the geometric center does not match with the line which connects the center of mass then there will be a problem and then things will wobble. So, wobbling will lead to the case of unbalance as well. So, while installation people have to take care of these issues also. Another case which happens is the case of in the case of maintenance particularly in the plants wherein we have lot of blowers may be a F D fan post draft fan F D fan F D fan basically what happens when you have this is chimney and then we put an F D fan here gases which are after burning the coal actually. Then you lot of fly ash in this gases what happens. So, because to give an extra draft to the fan we put a fan and this fan basically pushes out the gases out of the chimney because the chimney is at a certain height because we do not want to release the gases all around us. We send it high up and then send it for that dispersion can fly off to large places. The problem is with fly ash, fly ash on top of it if it is wet and moist they will become like a sludge and then they will you know this fans have blades I am just. So, with time what happens these fly ashes get deposited the stick to the fan blades and then once the stick they may not stick uniformly in some location they may get stuck and then this gives rise to a fan which is unbalance and then I have seen cases wherein these fans are filled the blade shear off the bearings get damaged because of this excessive fatigue force which went unnoticed because things got deposited in the blades. This happens in lot of chemical plants and food processing plants also. When you are talking about dry milk powder you have seen how the dry milk powder becomes sticky once it gets in contact with moisture or water. Imagine when you have in the milk processing plant they have lot of agitators and mixtures agitators and mixtures are nothing, but again some high speed churning devices in a tank churning devices. Again the same thing if I feed in certain material which is susceptible to moisture and then it becomes sticky they will they will stick to the blades and then because it is rotating then unbalance and finally you will say some find a this thing has failed because of excessive fatigue loading again this things happen. So periodically in many of these plants be it the FD fan in a power plant be it an agitator in a food processing plant periodically in regular maintenance they scrape off and there are alarm levels also if suddenly they see that the weight increases etc. they know that something is getting deposited. You are talking about iron ore centering plant a lot of things happen lot of places where things can get stuck they will create an unbalance and then things will break off. So the sources of unbalance are manufacturing defect installation issues maintenance issues and so on and then the question is what is the tolerable limit of unbalance. See everything can be balanced but how less should this force be reduced to and how much should be acceptable this is a function given by this curve here one it says the speed of the machine and other is the acceptable residual unbalance per unit of rotor weight that is given is gram per millimeter per kg that the denominator is the so acceptable unbalance mass because if I unbalance force is m e omega square if I if I remove the speed unit out F by omega square is equal to m e. So as I can I can say as gram per millimeter and then if there is a particular speed I know what is residual and the mass this is the mass of the rotor in kg. So for large levels you know g 830 means a very very high mass rotor and if you will see this is 0.04 and with speed the amount of unbalance which you can tolerate obviously will reduce because with speed any way we have a very high force omega square. So obviously at the same grade will have higher levels of unbalance acceptable unbalance at lower speeds that is obvious intuitive and this is the case of a precision balancing imagine in in in watches etcetera if there are other this was not precision balanced then we will have lot of problems but when I am talking about you know may be a steam engine or or a big drum big cement mill drum which is rotating at a very low speeds I can this the numerator can be very very high. So depending on the grades of unbalance this chart is given as per the ISO 1940 standard they have classified the grades of unbalance as to how much of acceptable quantities unbalance how much is not balanced when we should go for unbalance unbalancing and so on. So this is a great it is a reference because we never know I have got a residual unbalance of 100 sorry of 1 gram rather than 0.1 gram is it ok is 1 gram ok is 0.1 gram ok is 0.1 ok or 1 kg ok we did not know then we have to follow the standard and accordingly we have to specify that. Another very important thing we have to keep in mind is of course you know we will we will talk about this in the next class balancing or unbalance is defined or specified at a particular operating speed. If I have balanced a component or particular rpm n and n by n rpm ok I obviously the amount of unbalance will get magnified if I make an n if I operate it at n star which is much much higher than n because of the omega square term. The residual unbalance which was there will get magnified if I increase the speed. So it is always safe to balance system at a at its operational speed ok. Otherwise if I operate suppose I balance it at 2400 rpm and then try to operate it at 4800 rpm I am magnifying the amount of residual unbalance which was there. So usually best rule of thumb is you know suppose it is operating at 600 rpm you also balance it at 600 rpm ok. But usually there is a problem that we do not have high speed balancing machines. So usually people try to do it at a lesser rotational rpm and then try to operate it at a higher rpm. But we have to be careful that we do not run it at too much of a higher speed than it was intended to balance for. Now this is a typical balance quality grades this is from the same standard of ISO 1940. Now you say this balance quality grade it says g 0.4 this is basically for spindles disc armatures or precision grinders and gyroscopes. I will just come to g 100 this is the crankshaft drives of fast diesel engines with 6 or more cylinders complete engines for cars and trucks g 100 grade ok. When you have say g 1600 crankshaft drives of rigidly mounted large 2 cycle engines and marine engines etcetera. So for small gas turbines, steam turbines, rigid turbine generator sets it is g 2.5. So balance quality grades which we have to balance is actually specified by such standards ok. Now question is with this brief understanding of unbalance what are the effects it can have on systems because many machinery components actually start failing because of balance unbalance. You see what happens unbalance gives rise to excessive forces at the supports. So supports the bearings will then get damaged. So we may be alarmed because of a bearing failure. The initial problem could be something else could not be bearing failure to say that again unbalance if it goes undetected unbalance is going to give rise to forces at the bearings. The bearings are subjected to high forces the bearings are going to fail and then we will be maybe if the bearings are making noise etcetera bearings fail shafts are going to fail. So eventually we will be drawn to a fail bearing or a fail shaft but the initial culprit could have been unbalance which was undetected just for that examples I told you something is getting deposited on the vanes and blades which went unnoticed ok. There are many ways to find out unbalance and vibration again is a helpful tool to help us detect vibration then I will give you two specific examples how vibrations helps us detecting unbalance in couple of cases. In one case we have a rotor may be on this rotor we have a disc which has an unbalance and then we have this rotor supported on bearings. And what I do here is I put a accelerometer say axle 1, axle 2 and there is an unbalance so I am getting m omega square e unbalance force. Now of course you know if you look in the from the side the rotor will look something like this. So this is my vertical direction this is my horizontal direction and of course this is my axial direction ok. In this example I am measuring the vibrations at two locations this is bearing 1, bearing 2 because I can obviously only put the accelerometers at fixed rigid locations and these are essentially bearing 1 and bearing 2. So imagine what is going to happen because of this unbalance this shaft is going to bow ok. So because of this bowing because of the unbalance force I am going to have very high vibrations ok. They will be this vertical or horizontal this accelerations will be much much higher than the axial and they will be at the 1 x frequency by 1 x frequency I mean it is at the rotational speed fundamental rotational speed fundamental rotational speed ok. And this is strongly harmonic because you can you can understand if the rotating unbalance with every time it is going to change it is going to be a sinusoidal motion ok. So because this sinusoidal motion I am going to have it is a harmonic and obviously with speed because of the omega square term the vibration amplitude is going to increase like a parabola with time sorry this is with omega ok because of the square term. And another very important thing which you have to notice in detecting of such unbalances this is in phase between the support of the bearings that means by in phase I mean whenever the acceleration at location 1 is a maximum the vibration at location 2 is also a maximum. So that means the phase relationship between them is 0 degrees or close to 0 degrees that means they are in phase. If I was to plot in an oscilloscope if I if I if I draw two lines here is for a V 2 time ok this is for bearing 1 and this is for bearing 2 by in phase I mean whenever this guy is maximum this guy is a maximum whenever this guy is a minimum this is a minimum they are all in phase or the phase difference between them ok. But this is very ideally speaking it is nice to tell it in in in notes but once you go to the fields to measure because no system is perfect when I when I when I drew a sinusoidal if I show you an unbalance time history of a signal this is no way close to this because in a machine everything is mixed up you know this sensor which you put on the bearing ok. This this measures lot of things this measures the bearing vibrations this on top of the unbalances ok this this measures the suppose the shaft had some other problem like a loose things were loose shaft had a crack shaft were misaligned. So, all these vibration signals are going to come into this accelerometer here. So, these are the diagnostic techniques or routines which we have to follow to ensure that it is unbalance on and not looseness or misalignment or crack shaft. So, these are the processes by which we can know or we can be sure that yes there is an unbalance because I am having an high radial force or high radial vibration compared to the vibration in the axial direction and then of course the vibrations between the two bearings are in phase or they are 0 degree. You may not quite get 0 degree you may get 10 degree 20 20 degree, but you know while this is this is not 0 because of other reasons, but then we are going to get a sure test that this is the case of unbalance ok. And this configuration is true when the rotor is in between bearings and as I told you right in the beginning that we are talking about the balancing of rigid rotors in bearing where the rotational speed is less than the critical speed, but there could be another configuration I am sorry yeah there could be or before I go here I just want to show this and this is what we have measured here. Now, you see we measured signal 3 is 1 accelerometer signal 2 is 1 accelerometer which you have mounted on maybe if I go back and try it here again this is my channel 2 channel 3 wherein we have a disk. I will show you picture of this setup in the next class. And if I look here and this is the internal phase vibrations and the top plot is the cross spectrum ok cross spectrum establishes the delay between each other. In this case we have the phase and the magnitude most important is the phase here and this was rotating at 24.06 hertz and close to about 1440 rpm this corresponds to about 24 hertz. And you can see this is about 24.063 because you know this is what the finally the shaft was rotating at 1440 rpm and then sorry if you will see this dotted line here if you can see it here the cursor has been put at 24.063 hertz and the y in phase is about 13.149 degrees. And if you of course the cross spectrum you cannot see here actually it should have been the magnitude. And you will see a very strong component in the cross spectrum of course you would have seen the outer spectrum as well and this indicates that there is a y level of vibration. I have not shown you the axial vibrations that was too less in this case and this was actually a simulated in an experimental rig wherein we introduce an mass of unbalance and rotated it and measured the phase between 2 and 3. I did not report here the axial directions because it was too less but all you have to I wanted to show you regarding the in phase vibrations and they are in phase. Another case is when we have a case of an overhang rotors. In case of an overhang rotors the configuration is like this I have a shaft onto which I put a disc and they are supported on 2 bearings and this is the overhang part and they are rotating. Now in the previous example when the shaft was supported in between 2 bearings I had told you that there will be strong radial vibrations. In overhang unbalances there may be also strong axial vibrations this direction as well as this direction and though the axial vibration may be unsteady and axial phase between these 2 may be little unstable they may not be stable and this is again a case of an example wherein on the overhang rotor unbalance can be detected. The problem with unbalance detection is many. So, what are the problems associated with unbalance detection? One problem is whenever we have an unbalance or we have a machine rotating at a particular speed I will get a harmonic vibration because it is periodic vibrations. If I look at it in the frequency spectrum I will always get a 1 x component and this is because of the rotational speed. But think of it any machine it has to rotate at its rotational speed and so in any vibration measurements I am bound to get this rotational speed in the spectrum. So, this may be misleading I have seen many times people when they see a rotational speed they say well it is unbalance that is not true because this rotational speed is fundamentally because of the physics of the problem it is there. Of course you know this can be less this can be more but think of it this way if this was misaligned this was bearing I am still going to have a rotational speed coming up. So, just seeing in the spectrum of frequency at 1 x you should not be biased to detect unbalance. So, 1 x does not mean unbalance this is very very important because the reasons of 1 x are many it is a fundamental rotational speed it is there could be looseness there could be misalignment there could be cracks there could be bearing defects. So, how do you say for sure that this is an unbalance and that is when you look into the phase relationship between few transducers that is when you look into the relative amplitude between the radial and the axial. So, because many times another problem is only radial data is available. Number 3 which is common to any machine is rotational speed not known for a system simple rotor system wherein we can measure the rotational speed of the shaft is not a problem but think of a multi stage gear box think of a multi stage gear box wherein I have an input shaft and of course there are lot of intermediate shafts and then I have bearings at every location these are all there. So, the speeds of this intermediate shafts sometimes are not known because I do not know the gear ratios and there could be a problem of unbalance here because of 1 tooth broke it fell it created an unbalance but I am I can put an accelerometer here and measure. So, if I do not know the right rotational speed I am not able to pinpoint what is which shaft is having an unbalance. So, these are the problems associated with unbalance another thing is very very careful is when we have to compare the radial that is the vertical and horizontal with axial we have to be sure that they have been calibrated the accelerometers are calibrated and when I say I mean 10 meters per second square in a particular direction I also mean that this has been calibrated for that level. Otherwise you know when I am when I am getting a value of 10 meters per second square here and this was not calibrated I am getting a value of 8 meters per second square there is no way I should be able to compare I should be comparing these two. So, people mistake or miss these instances when they do the unbalance detection we have to be careful that these kind of problems are taken care of. So, to summarize in this class we looked into the causes of unbalance or in fact first we define what is static unbalance and what is dynamic unbalance how we define the grades of balancing and then most important is to know what is the source of unbalance in a system and then how do we detect unbalance. So, the source detection is very very important. Now, once we have detected unbalance as opposed to other mechanical systems faults like looseness, misalignment cracks through signal processing or through the signal processing of the measured vibration we can pin point and be sure that an unbalance has occurred in the system and in the next class we will see that how this balancing can be reduced and then how we can balance a system which is rotating. Thank you.