Hi, I'm Zor. Welcome to a new Zor education. Let's talk about other simple trigonometric identities. In this lecture, I would like to talk about law of cosines. It's actually about triangles which trigonometry, which actually this word seems to be related to triangles, right? It's the measurements of triangles. So this is actually about triangles, not about any angles, angles in the triangles, which basically has certain restrictions on the angles. It's greater than zero and less than 180 degrees. Now, in other cases, we were talking about cosines of any angles. But in this case, we are talking about only angles in the triangles. Now, what's interesting about this theorem is kind of a generalization of a well-known theorem in geometry, Pythagorean theorem. Pythagorean theorem is about right triangles, right? So if you have right triangle, A, B, C, C squared equals A squared plus B squared. Now, the law of cosines generalizes this particular theorem for any triangle. In particular, if triangle is the right one, then law of cosine actually states exactly the same as the Pythagorean theorem, which it should be, right? So let's talk about any triangle. Let's start with this one. The C, usually the opposite side is marked with lowercase similar letters, capital A lowercase A side, capital B lower B, and capital C lowercase C. And what I would like to prove is the following. Let's call this angle gamma. Why gamma? Well, because at A you have alpha, at B you have weight, and for C you have gamma, right? So the law of cosines states the following. C squared equals to A squared plus B squared. So we start as a Pythagorean theorem, but then there is another member, two A, D, and cosine of this angle between them. So this particular member is this generalization from right triangle to any triangle. Because if gamma is 90 degrees, so if this is the right triangle, then cosine is equal to zero, and this member disappears completely, and we will have just a Pythagorean theorem. All right? Seems to be easy, right? Okay, so how can we prove this theorem? Well, let's wipe out what we don't really need. We don't need this angle alpha, and we don't need this angle beta. We will just have these, and what I will do, I will put an altitude H from B to AC. Now, let's consider triangle BHC. Now, this is altitude, which means this is a right angle, right? Now, considering this is the right angle, I can always say that C squared equals AH squared plus BH squared. AH squared plus BH squared equals to C squared, right? This is the hypogenesis. These are two categories. Now, what do we know about each of these? Well, AH we can always replace with AC minus CH. AC minus CH squared. Now, BH we will leave as is squared equals. Now, we will switch to trigonometry. Why? Because AC we know what it is. It's B, right? Now, what is CH? CH is a catheter in this triangle, BH. It's adjacent to gamma, so it's equal to hypotenuse, which is A times cosine of this. That's what we have. What's BH? In the same triangle, BH is opposite catheter to the gamma. So, it's equal to hypotenuse times sine. That's it. I mean, that's all ingenuity which is required, because after that, it's just technical thing. Let's open the square, which is B squared minus 2AB cosine gamma plus A squared cosine squared gamma plus A squared sine squared gamma. Now, look at this. What is this? Obviously, this is equal to... Well, let me repeat these two members. B squared plus 2AB cosine gamma plus A squared factor out. And what's inside? Cosine squared plus sine squared of the angle gamma. And we all know that this is equal to 1. This is the major fundamental identity of trigonometry. So, I just leave A squared. And that's exactly... I'm sorry, it should be minus 2. Which is exactly what I need here. So, as you see, we do have a very simple proof of the law of cosine. All we needed, that's basically the creative part of this proof, is to drop a perpendicular in altitude, and then just use it if you guarantee it twice. Now, is it the end of the proof? Well, I make a pause, so you will think about this. Well, obviously if I ask, it means it's not. Now, why is it not? Well, for a very simple reason. What if our triangle looks like this? So, this is point B. This is side B. This is side C. So, this is an obtuse angle, which means that the altitude doesn't really drop in between B and C. So, we don't have exactly the same picture. You see, here is the problem. If you are using a drawing to prove certain things, your drawing should be, well, general enough. And if in the particular drawing you represent a particular relationship between sides and angles, etc., you better make sure that some other relationship also is represented in some other drawing and your proof is exactly the same or at least similar. And that's what we are going to do. So, we do have different cases when this perpendicular drops inside this particular side B-C or outside. And actually, outside also can be on both ends, right? It can be on the left from the B or it can be on the right from the C. So, that's what we have to really consider. That's what's covering all the cases. So, let's do it. What happens in this particular case? Well, let's do exactly the same thing. This is still a hypotenuse. So, C-square is still equals to B-H-square plus, I'm sorry, this is letter A, plus A-H-square. Now, well, B-H is still an opposite casualties in the triangle B-H-C, so it's still A times hypotenuse, A times sine of gamma. But A-H right now is different if H-C minus B plus H-C minus A-C-square, which is A-square sine-square gamma plus H-C is A times cosine minus A-B is B-square. Now, what difference between this and the one which is before? Well, actually, not much. The sine was here in reverse, but this is the square. So, we basically go to the same result. A-square sine-square gamma plus A-square cosine-square gamma minus 2AB cosine gamma plus B-square, which is exactly the same thing because this is equal to A-square, A-square plus B-square minus 2AB times cosine. So, this is a simple case as we see. It's exactly the same basically as before. But we did have to consider it because the drawing is different and our relationship between sides is different. And let's talk about another one right here. So, we have this type of triangle. This is A, this is C, this is B, and this is H-B-C-A. Now, in this case, let's do it again. C-square equals from AHB, it's BH. Now, where is the gamma? Gamma is here. This is my gamma. So, C-square is equal to AH-square plus BH-square. So far, exactly the same as before. Equals. Now, AH-square. Now, it's B plus something. Or AAC, rather, plus CH plus BH-square. Equals. Now, AC is B. CH is from this triangle BCH. This is the hypotenuse. This is an adjacent angle, adjacent side to the angle, but not to the angle gamma, but to the angle 180 degree minus gamma, or pi minus gamma. So, we now have A cosine pi minus gamma. That's what CH is. CH is hypotenuse A times cosine of this angle, which is pi minus gamma. That's what we have. Now, BH is still A times sine of pi minus gamma-square. So, instead of the angle gamma, now we are using angle which is equal to pi minus gamma.  But now, let's consider this. Okay. We do know the properties of the functions sine and cosine. So, let me just put it there. I don't want to do it from the memory. Now, the sine looks like this. This is 0. This is pi over 2. This is pi. Now, if you have this angle, this is the sine. Now, the graph is symmetrical relatively to the line through pi over 2. So, if you go with the same segment, you go from the pi to the left, you will get exactly the same. That's on the graph. Now, very similarly, if you consider the unit circle, sine is ordinate, right? So, this is one angle, and this is pi minus this angle, right? And the ordinate is exactly the same. So, this angle and this angle have the same ordinate. Now, sine of pi minus gamma is exactly the same as sine of gamma. What about cosine? Now, cosine is a system. So, on the unit circle, it looks very good. So, this is by absolute value the same as this, but they have opposite signs. So, my statement is that cosine of pi minus gamma is minus cosine of gamma. It looks like this. Cosine goes through zero on this way. So, this is pi over 2, this is pi. So, look, if you have an angle here, this is a cosine. If you have an angle, the same segment you put here, you have exactly the same height between negative side. So, either through the unit circle or through the graph, you can always say that the cosine of pi minus gamma is minus cosine of gamma. So, this is equal to pi b minus a cosine gamma. And as you see, we have come to exactly the same equality, but slightly differently. We still have this minus here, because if you will open all the parentheses and put together b square minus 2ab cosine gamma plus a square cosine square gamma plus a square sine square gamma. And this is obviously equal to a square. You will get exactly the same. A square plus b square minus 2ab cosine. We just came to this slightly differently, and our drawing in this particular case is dramatically different from the one which we had before. And we have to consider the angle hundreds of a degrees or pi minus gamma instead of gamma. So, my point is that, first of all, this is the law of cosine. I have proven it in all the cases. And number two, which is also very important, if you are using the drawing, you have to be very careful to basically cover all the situations which can come. Well, that's it for the law of cosine. I do recommend you to go to unison.com and go through the notes for this lecture as well. This is the trigonometer part. And then I encourage parents and supervisors to also participate in this website. If you register and then you register your students as students which you supervise, then you can enroll these students to different courses. You can ask them to take exams because exams are available only for registered students. And basically you can make a judgment on how the whole studying is going. That's it for today. Thank you very much and good luck.


Today, we will going to see what is mean by column base and how to design column base, particularly we will see how to design slab base. So, at the end of this session students will be able to understand what is mean by column base and the design of slab base. So, first of all we will see why do we require column base. Here we have one I section which is a column and we have to transfer this load from this I section to the concrete footing. So, for this we are having the load is very much higher and the bearing pressure of concrete is very much less which is of the order of 0.45 fck and here we are having the maximum load. So, for the small area this will going to be fail by punching. So, we have to increase the area and for that we will use base plate. Basically, we have to increase the area and to increase the bearing area will go for base plate. So, the concrete footing will going to remain safe with the help by using the base plate. Basically, there are two types of column bases. One is a slab base and another one is our gusset base. Its suitability is slab base is used for the light load and gusset base is used for the heavy loads.   We have to design this gusset plate and gusset angle here we will provide a nominal plate angle for the bolted connection or if we use welded connection we will weld this section. For light loads we will use the slab base for heavy loads with movement or eccentric load we will use the gusset plate. Load is transferred by 100 percent bearing load is transferred by 50 percent gusset plate and 50 percent by the bearing action. We are particularly see what is mean by slab base we will see its design steps and after that we will see the gusset plate base. So we will see some theoretical background it is slab base it is assumed that the maximum bending movement occurs at the edge of the column. Here we will see this is the edge the maximum bending movement will occur at this edge of the column. As the slab base slab tends to bend simultaneously about the two principle axis of the slab the stress caused by bending about one axis is influenced by the stress due to bending about the other axis and due to this effect we will use an poison ratio of 0.3 to account this effect. Now we will see the bending movement how to calculate the bending movement. First of all we will take a 1 mm strip of the slab projection along the xx axis. Along the xx axis means parallel to xx axis this is our xx axis this is our xx axis. Movement is load multiplied by length it is a udl multiplied by l by 2 we will get the movement so w a square by 2 and along the yy axis means parallel to yy axis we will get the maximum bending movement will be equal to w into length w into b acting at a distance of l by 2 which is b by 2 which is equal to w b square by 2. Here we get the next movement mx coming w a square by 2 major about xx axis and considering the Poisson effect we will subtract some value its effect on another axis w a square by 2 minus 0.3 w b square by 2 this is our Poisson's ratio and taking w by 2 common we will get this value w by 2 into a square minus 0.3 b square. Now the movement capacity of the plate mp will be equal to 1.2 fi into ze where ze is the elastic section modulus of the plate. So for 1 mm strip the elastic section modulus will be equal to 1 into t square by 6 will put up some all the values which is equal to 1.2 fi into t square by 6 where t is the thickness. Now previously we get this value w by 2 a square minus 0.3 b square and we have considered the movement of the plate that is the movement capacity of the plate which is equal to 1.2 fi into t square by 6 will equate both these and we will find the value of t but before that we will apply a partial safety factor for material which is gamma m0 and then we will equate these two values to find the value of t. Here cutting all the values it is divided by 2 which is equal to 3 then we will it is going to in the numerator it will come into denominator so t square will be equal to 6 by 2 into w divided by 1.2 a square minus 0.3 b square after solving this we get t square is equal to 2.5 w into a square minus 0.3 b square gamma m0 divided by fi now t will be equal to under root of this section we will get under root 2.5 w into a square minus 0.3 b square into gamma m0 divided by fi this is partial safety factor for material this is the yield strength this is the smaller projection this is the longer projection we will see each and every term this is now we will see the design procedure. First of all we will assume a suitable grade of concrete whatever we are using we will take that grade of concrete and depending upon the grade of concrete we will find its bearing strength that is the bearing strength of concrete which is given by 0.45 fck a reduced value of 0.45 fck is used we have the maximum value as 0.6 fck which is recommended by the code but code says we have to use a reduced value which is equal to 0.45 fck we get the value of stress now to find out the area what is mean by area is nothing but load divided by stress where p is the factor load of the column the load which is coming on the column and the bearing strength of concrete which is the stress available stress or the permissible bearing strength of the concrete we will get the required area of the base plate we will see each and every term here where l is this one l l is the length of the base plate b is the width of the base plate d is the depth of the column this a is the longer projection of the base plate and b is the smaller projection of the base plate we have got the value of area now to find out the sites we will assume the square base plate and the length and width of the square base plate is calculated by this equation and to achieve the economics and designers feel that projection should be equal so they maintain a which is equal to b if you put a equal to b we get some value we can find out the value of a and b by this equation d is the depth of column b is the smaller projection bf is the width of the flange a is the longer projection and area we will assume a equal to b and we will find out the projection we get this from column we will see design steps now the intensity of pressure we can find out by this equation w is equal to p by a 1 where a 1 is nothing but area of the base plate provided in mm square if you put this value in mm square we get the value of w intensity of the pressure from concrete under the slab base in Newton per mm square we have got we will compare it with the bearing capacity of concrete if it is less then it is ok after that we will find out the thickness now the minimum thickness of the base minimum thickness t of the slab base is calculated from the equation number 6 it should not be less than the thickness of the column flange what is mean what is equation number 6 we will see this equation number 6 we will calculate the thickness of the base plate with the help of this equation and we will check it with the thickness of flange if it is less then it is ok and for the slab base will provide 2 to 4 numbers of holding down bolts of 20 mm diameter when the base is subjected only to the axial compressive force 2 bolts will be enough if it is not subjected to the axial compressive force we will provide 4 holding down bolts and welded if it is subjected to some movement then welded joint we have to design for the column and the base plate if the column and base have machine end and perfect bearing is ensured the axial load is assumed to be transferred directly and welding is designed for moments only however if the perfect bearing cannot be ensured the column should be welded to the base plate for all the forces that is we have to design the welding if it is not if it is subjected to perfect bearing then we have to just provide the nominal welding. Next it is assumed that the bearing pressure are uniformly distributed all over the contact surfaces the bottom of the column and the supporting surface of the base are machined so that the complete compressive load is transferred to the plate by direct bearing this is the base plate. Next we will see some review question you can pause the slide and answer these questions the thickness of the base plate is determined from option A is the flexural strength of the plate. Next shear strength of the plate see bearing strength of the concrete pedestal next is punching criteria you can find out the thickness on which basis. Next question the minimum thickness of a rectangular slab base is calculated just now we have seen one equation for the calculating the thickness of a rectangular slab base you you just see which equation we have used now these are the review answers answers of the review question the thickness of the base plate is determined from the flexural strength of the plate we have considered the bending about two axis we have considered the poison effect on another axis that is w a square by 2 minus 0.3 w b square by 2 that is the flexural strength of the plate and minimum thickness of an rectangular slab base we have calculated t is equal to under 2.5 w gamma I am not upon f y into a square minus 0.3 b square these are the standard terms f y is the yield stress of the steel w is the uniform pressure a is the moment and a and b are the cantilever projection smaller smaller and longer projections these are my references thank you


To do on the breakfast, the organised labour-sick policy change of importation of petroleum products into the country rather than the reduction in the prices would have in-depth analysis as we proceed on the shore. Also on the breakfast, ahead of the February 25th and March 11th elections, experts urge Nigerians to push for health security, especially for the primary healthcare. And don't forget, we'll also be looking through today's newspapers analysing the biggest stories of the day. That's a beautiful morning and thank you for joining us on the breakfast and plus TV Africa we're reaching your live from our studio right here in Victoria Island, Lagos and as always we start off with a top trending conversation. And just so you know, my name is Messi Ebopo. Well we're tired of what Nigerians are talking about and that's very popular, it's still been in the news but you know different dimensions and different reactions to it is the Supreme Court suspension of the CBN's deadline on Naira note swap. The Supreme Court yesterday temporarily halted the move by the federal government through the central bank of Nigeria to ban the use of the old Naira note from February 10th 2023. A seven-man panel led by Justice John O'Korro halted the federal government's plan in a ruling in an expatriate application that was brought by three northern states governors that's of Kaduna, Kogi and Zamfara. February 10 deadline for the currency swap that was announced by the CBN of Nigeria. You have governor Eroufai, Nasi Eroufai of Kaduna State, Yahya Bello and Matawale, Bello Matawale of Zamfara. Reporting political parties who have threatened to boycott you know the February 25th election should the CBN extend the deadline. You know that. So I mean against the fact that you have this governor's going to the Supreme Court you also have political parties who are saying per venture the CBN would extend the deadline for the Naira note swap I mean 10th of February is almost here right maybe tomorrow there will not be part of the elections. So it's a lot that's going on in our system. Now this is as the High Court of the Federal Capital Territory restrained the president Muhammad Buhari, the CBN governor, Godwin and Mayfily and 27 commercial banks from suspending and stopping or exceeding or interfering with the currency exchange terminal date. So there's a lot that we have to grapple with now. But one of the things that's been stated this is one thing that Nigerians are talking about. I mean if you look at you know Twitter space which is very popular amongst all social media is that there's a trend, there's hashtag, there's trending and that's the Supreme Court still topping the chart even on point till this moment. And a lot of persons are asking what exactly this is, what does this mean for Nigeria. So don't forget that you have those who have actually approached you know the courts and are asking that there should not be an extension for the debt line, I mean don't even try to do that. And also on the other hand the Supreme Court has a ruling and now this is where we are. So what exactly is the implication for all of this. However it's important to know that this is a temporal halt. This ruling is just temporary and they are still you know another hearing. So they're still going to be hearing as we proceed I mean sometime in February okay. But some persons have said that if you look at the summon it probably would have been very important and very clear to note that it had nothing in it that the Supreme Court shouldn't have entertained this you know, entertained whatever the suits that was being filed by these governors in the first instance. Because reading through the original summons the Supreme Court should have dismissed the case on the spot because the summon lacks any form of substance and it feels like we have decided to continue to devalue the practice of law in Nigeria and everyone seemed to you know discontent and subsist in order of the Supreme Court and what have you I mean there's a lot that's going on okay. But this is very very unfortunate it's very unfortunate. We also hear some people who are asking that the president she uses veto power his veto power to override the ruling of the Supreme Court and do we think we want to set that precedent we're also worried about the fact that we have set a precedent already by politicians political class you see every other time we get to approach you know the courts approach the Supreme Court for cases where we should have just you know let it slide and we know that the Supreme Court is has a final say I mean the laws whatever the ruling is is is the final court in the land and so whatever it is that the ruling or the judgment whatever it is you want to however you put it is final and is supreme and cannot be contested because after the Supreme Court then you probably have to go meet God you know to decide your case but we move away from that fingers across we can only you know ask and pray that we do the right thing we have to be guided by our conscience and we can't continue to act differently and expect a different result but this holds a lot of confusion for Nigerians what exactly would happen should we go ahead and spend you know the Naira note what exactly is the CBN saying there's no response however we've not also had any response from the president what another that's very interesting is that you have Erufai the sitting governor of Kaduna State who's gonna head to let's let me quickly see if I can put out that he said you can continue to spend the old notes reasonable will reverse decision when he wins following the Supreme Court's temporal stoppage of the central bank from withdrawing the old notes from circulation right this is what it is and some persons are thinking that this is not entirely this should not be the case really how can we continue encouraging impunity encouraging disregard I mean it's a lot that's going on and when you want to look at that you ask yourself how exactly are we faring with our with our democracy and especially with the judiciary as a judiciary been bought over what what is really going on and do we even need to begin to think about the ideas that people are suggesting that the president should exercise his powers and is that the antecedent that we want to it will make nonsense of the Supreme Court and we can't continue like that as a people but we would definitely continue to bring you all of the developments as we proceed now another interesting conversation as we inch closer to the elections all of this would have an implication for the elections let's not forget the NMPC has promised to end fuel scarcity in one week so let's see how that becomes I mean what's going to become of this promise it probably will not be the first time over time we've had the government saying that we have enough petrol it's not the issue of scarcity we haven't enough to cater for the needs of Nigerians the petrol scarcity been witnessed across the country CBN is I beg your pardon the NMPC saying will reduce from next week right and this statement came on the heels of renewed efforts by the Nigerian national petroleum company limited that's the NMPCL to maintain 450.92 million litres of weekly evacuation of petrol to different filling stations across the country and I remember that at some point there's a report where if you look at our consumption rate for the petrol what we consume as 8.1 million you know liters of petrol that's what it is that I'm sure it probably would have increased because of you know population and the demand for it I mean the more cars you have the more people increase I mean the more houses you have this need for all of that especially when the energy sector I mean we're talking about the power sector of the country has not been sorted out well don't forget that the NMPCL separately promised an improvement in petrol subsidy across the country prior to this time and not they're saying from next week they are showing Nigerians and they're saying that the federal government is determined to ensure adequate supply where you have silver calling on security agencies to prevent any attempt by elements to cause any disruption of fuel supply ahead of the generic elections who also have the umpire that's Inaq whose complaint of her concerns of you know the petrol shortage or scarcity might also affect you know the election because I mean the umpire has had the responsibility of conducting these elections and then materials have to be moved from a point from point A to point B and they have stated that yes this scarcity would go a long way to affect us I think we started talking about petrol scarcity in Nigeria as of 2022 around November if I'm not mistaken and here we're still talking about it the queues have not disappeared the queues are still very much available and the prize of petrol has gone very high people are buying petrol for 350 naira depending on where you're buying from and you just don't want to even patronize you know the black markets you ask yourself how do those in this black markets get this product what's going on the products is not available at the filling stations because you have some filling stations that are short well this would also be part of a conversation in as we proceed on the cost of a conversation this morning on the show now I'm not on the top training is that Inaq says she's going to be working with an Inaq's Yolouma led PAC committee for the election the independent national electoral commission Inaq has said that there's no other option rather than to work with the Lagos state PACs management committee for the distribution of election materials and personnel in the state Olu Shegun Agbaje was very responsible for that statement he's Inaq resident electoral commissioner in Lagos and he spoke during an interactive agency consultative committee on election security meeting at the commission's office right here in Lagos Agbaje said that working with the committee which is led by a king Sawyer who's popularly known as M. S. Yolouma would not compromise the elections because there's been several consents by Nigerians asked to the collaboration with Inaq especially for Lagos and he said we're going to work to distribute the materials now the governor of the state Lagos state to be precise Babaji Desong Olu had set up the PAC committee after banning the operations of the National Union of Road Transport Workers that's the NURTW and the Road Transport Employers Association of Nigeria now following reactions the presidential candidate of the People's Democratic Party Atikua Bubaka has also reportedly his wand of Inaq against the use of the PAC's committee and he raised that alarm saying that M. S. Yolouma is a member of the all-progressive Congress that's the AAPC and that's also a lot saying that there's been several solidarity rallies for the party by him and there's no trust I mean so you begin to have suspicion there's a lot of suspicion around this collaboration especially for distribution of materials the election materials in Lagos in response to this you know situation same I mean the resident electoral commissioner in Lagos right here said that the commission is only concerned about meeting up with the high volume of logistics needs for the elections and he said that the movement of electoral personnel and materials would be monitored by security agencies and party agents and observers and so apparently there's no need for worry and there's no need for fear but can we really take that out especially when a lot of Nigerians have expressed you know lack of trust for the umpire a lot of people do not think that INEC has what it takes to conduct a free fair and credibly elections looking at the patterns and the behavior also thinking that they're probably and not entirely independent and you also cannot rule out you know the statement or some of the pointers from the presidential candidates of the People's Democratic Party we expect that the umpire according to the nomenclature is an independent electoral commission and is expected that it should be independent in all sense not being affiliated if you also make reference to the electoral act is expected that they don't belong to any political party whatsoever no affiliation independence have a mind of their own so they are able you know to go ahead in conducting elections every other time and ensure that deliver free and fair elections without any interference or being on the side of another party but when you talk about that collaboration he should raise a lot of concern and just like you know Artikwa Buboka has mentioned the MC Oluwomo right here and the Pakistan Association they seem to have an affiliation I mean not seem they do have an affiliation it's very open and it's very clear that he's of you know the APC so yeah so at what point can we say that you know in the course of transporting these materials sensitive election materials including personnel especially for legal state would have no sort of you know interference I mean interests would not begin to change so it's very worrisome but you begin to ask yourself don't forget that the independent national electoral commission that's INEC had presented a budget of 305 billion for the 2023 general elections to the national assembly and the question would be is it that you know 305 billion including the 40 billion Naira which is an annual budget for the electoral body I mean it's separate from 305 billion Naira plus 40 billion I'm sure you want to begin to calculate all of that uh is that not enough for you know the empire to cater for transportation how many years from 2019 elections then we have 2020 elections I mean four years after INEC couldn't have been able to provide what it takes to go ahead and transport materials in Lagos and also transport you know her personnel without having any uh affiliation with a government agency uh responsible for transportation or monitoring transport activities in a certain state this is a lot if the people have we're talking about the fact that Nigerian there's a trust deficit in the system already so you government can come up and say this is what we intend to do but the people do not trust the system and if that's the case then how do we continue to you know give the people the reason to not trust the system or not trust the process this particular effort has been flagged of by a lot of Nigerians and they have expressed lack of trust with that particular collaboration I was saying I didn't know all the ways of you know going about this what exactly is it I mean why is it that you know the state at this point in time I don't know resources to say okay you're able to get your own vehicles why can't INEC own her own vehicles where they can transport materials and let's even say that the only challenge that they might be faced with is the the challenge of petrol why can't INEC uh say okay we have to hire vehicles and what have you these are the some of the consents that Nigerians have raised as regards this particular collaboration transporting election materials uh that's in collaboration with the PAC committee or which is led by MCYLOMA who we know is very much of the APC okay we will take a break at this point and when we return we'll be joining as ikan jai took four off the press please stay with us good morning


from Ms. Lin's first grade class in Columbia, Missouri. Our question is, how hot is the core of plant Venus? Hello, my name is Anna Fribill and I'm a professor here at MIT. I'm actually an astronomer and I'm going to answer your questions about space. You asked how hot the core of Venus is. That's a very good question and I can tell you it's quite hot. It's probably about 5,000 degrees hot, which is very similar to the Earth. Actually, the crusty part, the rocky part of Venus and Earth are very similar. The major difference between the two plants is the atmosphere. We can breathe in our atmosphere whereas the atmosphere of Venus is pretty toxic. But in terms of how hot it is in the core, pretty hot. I don't recommend going there.


Susan Berger, go ahead, Susan. Hi, everyone. I want to greet you here. I hope you're all having a festive time since Halloween. I just want to remind you, the course deadline is November 8 at midnight. And if you're looking to get a credibly badge, you need to listen to all the webinars, complete all the assignments, including passing the quiz from last week. And right now, I think there are two or three people that have done the quiz but not passed it. And so you need to go back and redo it again. You can do it as many times as you want. But you do need to pass it. So if you have questions about the mechanics of the course or other problems, you can contact me. This is my email. And if you have questions about caring for your collections, you can join the Connecting to Collections Care community and the instructions there on our website. And coming up, at the end of this month, we have a webinar on LED lighting from museums. And in early in December, we have one on insurance. So be sure to check those out. And I'm now going to turn this over to Gretchen Anderson. Go ahead, Gretchen. Go ahead, Gretchen. Hello, everybody. Hello, everybody. Today, you're going to have Paul Storch speaking to you about developing a music, I mean, a housekeeping plan. And I also want to underscore that you need to pass all of the assignments. I think that you have gotten the PowerPoint that I put together about the hands-on assignment. Please go through that and try and get caught up. And you need everything by midnight, November 8. So let me turn it over to Paul. Here you go. OK, let's see. Get the slides up here. Well, you'll have to bear with me a little bit. I'm still getting over a head cold. So it gives me a little more of a radio voice, but I'll do the best I can. So I'm going to try to tie everything together from the previous three weeks. Excuse me. And doing that, I'll probably refer to some of the things that Gretchen and Tara talked about, but I won't get into the technical aspects of those, because you've already gone over that, but mainly going to how they all come together in a cleaning plan, which the title is Standard Operating Procedures. And my orientation, I'll give you a little bit of the background, is in objects conservation. And for the past 10 years, I've been collections liaison, basically a collections manager for the Historic Sites Network here at the Minnesota Historical Society. And I've also done about 30 years of consultations to different types and scales of county and local historical societies and museums, mostly in the Midwest. So in putting this together in my talk today, I'll be keeping those situations in mind of smaller museums, as well as somewhat larger in places and institutions and drawing from my experience with the Minnesota Historical Society. And also, this is a caveat, some of the illustrations you'll see in my orientation, of course, has been with historic sites. But what I'm going to be talking about can be applied to regular museums and collection storage and those types of areas as well. So let's get into the whys and watts of cleaning plans or historic housekeeping plans. You'll see both written here. Why? So the housekeeping plan fits in with building maintenance, sound security practices, environmental monitoring, disaster planning, IPM, and overall collections management in a preventative conservation approach. And I refer to that as really the first level when you're thinking about developing your plan and implementing it. It has to be collaborative with the facilities, maintenance people, and custodial. We're involved, of course, with collections, and that's what really we're talking about. But it has to be in concert with what's going on with the building envelope. And I know Gretchen talked about that in her earlier lecture about the different layers within or around your collections, the building envelope, and then the different rooms and storage devices and things like that. Well, the first level would be the facilities having their maintenance plan. So maintaining systems, maintaining windows, doors, door sweeps, all that. We'll get into that later and show some illustrations. And then what we'll be doing and the why's and what's pertain to the second level of collections, maintenance, and collections cleaning. So another why is museum objects and historic spaces have different cleaning requirements than modern buildings and equipment. And again, they go hand in hand. And the cooperative plans work together. And then what of the housekeeping plan? It provides a framework. And as you'll see, we'll develop a schedule, preventive maintenance, and preventive treatment. Reinforcing what I just said, buildings are part of the collection. I just wanted to throw this slide in here. This is one of our historic sites showing it's a mid-19th century Fort commissary in Minnesota. And the wall has some issues with efflorescence of the stone in the mortar. And you could see some white on the floor there. So that's in the exhibits gallery. So the site staff has to work with facilities in controlling the environment in the building. And their role is, of course, cleaning up the efflorescence. In this case, it hasn't impacted any collections directly, but we're working together to solve that problem. Now, getting into the components of your plan, really the most essential part of this is an assessment, if you haven't done that already, would be to assess the nature and condition of the overall collections and exhibits. So that would be a general assessment, not really talking about object by object at this point, but looking at the space and starting at how is the space used. So this could be a gallery, historic building, historic house, furnished or not, which would include programming. So open hours is used for a lot of school tours, special programs, evening events, rentals. You need to keep that in mind as well, a lot of sites. Especially recent years and going forward, museums have to be entrepreneurial. So those kinds of things, you have to consider how they're going to affect the collections and preservation and adjust your cleaning plan and maintenance plan accordingly. Then the overall building condition, going back to what I just showed. And I don't want to get into deeply into facilities maintenance. That's another webinar. But the roof conditions, pointing, those kinds of things, windows, of course, that's all going to affect what goes on on the inside, obviously. So you want an assessment of that, and that may trigger projects for someone else. But it's good to get a collections-level assessment of how that affects interior conditions. And then a sense of the accumulation rates of soiling, of dust, and strictly empirical observations, how often have you been cleaning? And again, that's going to be dependent on various things, getting back to how the space is used. And I'll talk about this a little more going forward. But are windows and doors used for ventilation during certain times of the years that's going to have an impact on accumulation rates and also depending where you're located with winter. It could involve salt coming in, depending on how much visitation you get, that type of thing. Then the next step would be identify routine housekeeping tasks as well as any special projects. And if you've had a long-range plan assessment from a conservator, say the CAP Conservation Assessment program that started back up or something that your state does, in Minnesota we have what we call legacy grants, where you can get a conservator to come through and do a general conservation assessment, which includes looking at the building envelope and all aspects of your operations, as well as the collections, and then the development of a long-range plan. And those include actions based on observations of, again, all different aspects that affect the collection. So we'll have recommendations for cleaning and observations on dirt accumulation and deterioration and those types of things. So incorporate that into the cleaning plan. And then identify equipment, materials, and techniques for the housekeeping tasks. And I'll show some examples of that. And then the next component of the plan, major component, is to assemble the housekeeping team and define responsibilities. So again, depending on the size of your institution, that it could vary. Maybe one or two staff or even one person, if that's the situation. But it's important to have responsibilities defined. And then getting into a tool to use would be to actually create a housekeeping assessment planning sheet. And this is the first step to it'll feed later on into your actual written schedules and the logs that kind of generated from this. But this is something, again, depending on the nature of the institution and the size of it and what kind of components you have, you could do several sheets. It doesn't have to be one for the entire museum. So say you have a county museum building with gallery spaces and storage areas. But then you also have a small historic building on the site. And to make it even more complicated, a steam locomotive outside that's also a display exhibit component, say. Or you can think of that as an exhibit gallery if people can go into the cab. So each one of those components is going to have its own specific housekeeping needs. So I think it would be germane to do an assessment planning sheet for each one. If you just have a museum building, then you can break it down for the galleries and the storage areas, because you'd have separate schedules for those we'll see later. So the basic components you see listed out here. And I want to just pause for a minute. This is what I set up as the assignment for this week. So I'd like to see each of you create one of these. And you could just do one if you have multiple areas, like I said, just maybe concentrate on one. And it's something that you'll be able to use. So each item is referring back to the last slide, the major components. So what you do would be to list the location or the name. In this case, I was thinking of a general store that we have in central Minnesota. So it's the name of the site and then the use. And in this case, I have open seven days a week. Basically, what's the program? So we have guided tours, self-guided visits, drop-in visitors, and school groups. And then you want to list, OK, when is that? Generally with our sites, those visits are heavy in the spring and the fall. Some may get summer camp visits or actually do their own day camps. So that has to be put in there because that's going to impact the amount of cleaning, that type of thing. Then just a general listing of what kind of collections. And again, for your purposes, you could alter this and add topics if you need to that are more specific to what you're dealing with. But this is really the main things that I use. And I'll be doing this for our sites as well. It's a very handy planning tool. And it could be updated when as needed. So collections, permanent collections, POMS slash touchable. POMS is the abbreviation we use for program use materials. So those are non-accession materials. And some are expendable, get used up, thrown away. They may have come from the accession collections from sites and redistributed, or in our case, through our network if they make more sense in another site like clothing, for instance. And they can also be somewhat high value. So in that case, you'd want to consider them a little more like collections. And then how are the things displayed? So in this particular store site, we have objects on shelves and counters. And suspended from walls and ceiling, that's all going to impact cleaning, as you'll see pretty soon. Operation, it's probably not the best term. You can find one that works a little bit better. But what I mean by that is, how is the building operated? What kind of systems are going on? And what kind of actions that affect the environment and cleaning? So forced air, heat only. The window, again, like I mentioned before, windows and doors open in summer for ventilation. And then I put, as far as management of the environment, we have a data logger in the storage areas. Then light consideration. Shades are pulled when the site is closed. They're open during visitor hours. And then if applicable, we have a wood burning stove used in the winter. Of course, that kind of program operation has a lot of different impacts, safety, bringing wood in for use that ties in IPM, all kinds of things. But listing it here is it could possibly generate some soot on the walls and ash, that type of thing. So in talking about dirt, that's why I listed it here. Then dust levels, dust accumulation levels would be the sources for that. We have an unpaved parking area in front of the building. So wind is going to bring that in. That's going to have an impact, particularly in the summer, and increase the rate of accumulation. And a road about 100 feet. And then also something to think about is what's going on around you in the general neighborhood. And several other sites are located in farming areas. And besides obvious wind-blown dust, it impacts pest load, especially in the fall, when harvest occurs. We get a fair amount of Asian ladybugs coming into the sites. And I've got some slides of that. So that's something to think about as well. And then going off that is just a general assessment of the insect load on the site, in this particular place, ground-hawk activity, birds, squirrels, et cetera. And I mentioned the box elder and the Asian ladybugs and, of course, the ever-present mice. They want to be cognizant of those. And then equipment needed. You want to list that for a particular area. So usually a HEPA vac, brushes, brooms. I know Gretchen went into that. But when doing the assessment planning sheet, consider what you'll need for a particular area. And then the next major component is the who, putting together the housekeeping team and what are the responsibilities for who does that and actually does the work. So to create the plan and the schedule based on the assessment observations, that usually would be the museum director. If it's part of a standalone site, part of a network, the site manager or curator collections manager would actually be the person in charge of getting that set up. And then the actual tasks usually would be a site supervisor or a historic housekeeper. Of course, some of the tasks, as I mentioned, would be the facilities, custodial people, if you have that, or exhibit staff for maintaining the gallery exhibit furniture, the displays, vitrines, those type of things. So they would be the people who would carry out actual cleaning and maintenance tasks on a regular basis and also responsible for documenting the tasks and reporting any kind of problem. And then the role of conservators, if they happen to be on staff or you use contract of conservators, would be to provide overall advice, occasional assessments, and then actual treatments when needed. Then developing the team, you specify cleaning responsibilities in position descriptions. So establishing the percent of work duties and time involved with cleaning and maintenance activities. Now I talk about PDs, and that generally refers to paid staff. I know some smaller institutions would most likely depend on volunteers, but it's good to have written responsibilities for volunteers as well. I know a lot of institutions actually have position descriptions for volunteers. So the expectations on both sides are pretty clear. And if it involves collections maintenance, then it's good to have that written down and established. And the science tasks and work into a regular schedule so cleaning doesn't get pushed out when other things come up or it should be established as a main priority and incorporated into the regular work schedule. And then training is part of team development. And it should start with basic object handling, training, and then more specific or general and specific to the object materials, provide equipment and train on use, and provide personal protective equipment. And Gretchen and Tara definitely talked about that in terms of hazardous materials and collections and dealing with mold and all that. I won't go deeper into that, but all those considerations should be taken into account when setting up the team and providing equipment for it. Then next step would be cleaning training, something I suggest is setting up a training session or sessions with using didactic or program use, the POMs, or deaccession to objects for practice. It may take a little time to develop that in-house, but once you have it and you get new volunteers or new staff, you've got a set of materials to use. And you can do anything from dry cleaning all the way through wet cleaning and use different gamut of what representative materials you have, so metal, leather, wood, ceramics, a glass, that type of thing. You can do the different methods on it. And then there are available videos and webinars online. Another way is to have existing staff train, new staff and volunteers, somebody responsible for that, or bring in trainers if you don't have the expertise available on staff. And you can also utilize state historical societies, if possible, and conservation center workshops, and bring in trainers. Excuse me. And then getting into the written procedures, the what. So you want to have listed the locations for cleaning and housekeeping, the list of tasks to be performed, and then specific techniques for each task. And I'm going to have illustrations of this later. I'm just going over the main points right now. And then the frequency and schedule of each task. So it's daily, weekly, bi-weekly, monthly, and annual, semi-annual. The name of who is responsible for those tasks, name or names, and then, again, supplies and equipment needed. And again, of course, the procedures may vary if you have multiple different, widely different locations, you may have to have a specific written procedure for each one of those, rather than just one for the entire institution. There's some illustration of identifying and dedicating equipment specifically for collections, cleaning tasks. So in some cases, you might have a set of cleaning equipment tools and supplies and vacuums just for the collections, cleaning or for the historic house areas, cleaning separate from the custodial and the public area cleaning equipment. They don't get cross-contamination, that type of thing. So this is, on the left, is a dedicated bucket for historic room cleaning with Kim wipes and static quarts, brushes that you want to keep clean away from the food materials that type of thing. And then vacuums on the right, a canister backpack or helpful for historic housekeeping and the regular upright for the floors. And then getting more deeply into actually developing the schedule and the actual plan, looking at prioritization. So the example I'm using here is a historic house. So again, your first level, there would be more frequent daily and weekly, at least. And of course, depending on the programming and if there's a rental schedule in place, maybe even more frequent, those would be the custodial tasks. So all the public areas would involve trash, removal, sinks, bathrooms, the non-collections, carpets. And also something to think about that, too, if you have catering activities going on at the site that the vendors and caterers be given a fairly strict protocol for their cleanup, as well. And that somebody from the institution is available to make sure that that gets done. That's a big component of cleaning and housekeeping. Then the historic cleaning housekeeping component, the daily would be to dust, vacuum the historic rooms and rotating order. And as we'll see, starting with the exterior. That's an important, especially here in Minnesota this time of year, particularly with school groups. That's a main source of dirt and leaves coming in when the groups come through the front door and track leaves and other tree parts with them. So the first thing the housekeeper does in the morning is to sweep the porches. So that's like your first point of protection for being proactive. And then bi-weekly dust tops of all doors and door frames. Weekly to bi-weekly clean dust, wash the entryways, big glass panels and doors. And again, that depends on use. Maybe with school groups, you might get more fingerprints on glass. Weekly brushing, dusting all the window shutters. Then more monthly would be the vacuuming collections carpet. And something we've found that ties into pest control is wiping and vacuuming all the window sills and frames to remove bug carcasses, particularly box elders here. Because they, as you probably know, can provide food source for secondary pest infestations of things like dermestids or other collections, more serious collections pests. So that's something we kind of found out by experience about 20 years ago and really stepped up to cleaning that that was an area that was being overlooked. And since we've been doing that consistently, we really haven't had any major infestation. Then semi-annually would be dusting all the walls and ceilings, if applicable sponge using a sit sponge on the walls near the stove that's used for cooking programs easily, changing table covers, and then cleaning and waxing wood details to some illustration on the lower right of the daily front porch sweeping, your red leaves, and then vacuuming the windowsills, particularly this time of year that's more frequent. Then continuing on prioritization, illustration of annual, the more detailed type of cleaning would be light fixtures in some of our sites that involves taking down chandelier crystals, and that's a major project where site interpreters are pulled into that and are trained on doing that. And that also gives you an opportunity to closely look at the ceiling structure if there are any structural problems with that. In one of our sites we have plaster rondells, and we had an issue with some of that actually separating from the ceiling, and that was noticed during the annual chandelier cleaning. So all this ties into preventative conservation of the site itself as well. So light fixtures and then wash all exposed glassware in China, wash or dry clean all curtains and drapes, wet cleaning painted woodwork, and wet clean all non-carpeted floors and wax if needed. Now in some, depending again on the situation and visitation, that may be twice annually rather than just once a year for the floor cleaning and waxing. We have one of our sites is a very popular lighthouse, and they get over 200,000 visitors a year, so they need to do that a little more frequently. Then as far as responsibilities, for the cleaning personnel would be to carry out the tasks as assigned on schedule, observe and report changes, problems with objects, any kind of water issues, temperature, fluctuations, problems with humidity, and of course pest issues. And then it's important to completely fill out the logs. And again, how you establish that is up to your particular situation. But whether it's done online or in a paper form really doesn't matter. I think with Google Docs now, that's what we're using with our sites, facilities, maintenance, and housekeeping staff as they do a monthly Google Doc report. And we have a monthly full department meetings. We go over those and discuss any issues and projects. They may impact that. Then it should be responsible for properly maintaining cleaning equipment and reporting any problems with that or needs for repair or supplies, that type of thing. And then replace parts and supplies as needed. Properly dispose of collected dust and debris. And again, those were touched on in the earlier lectures for that. I don't go too much into hazardous materials in this, but that needs to be a consideration. And then follow proper safety precautions during cleaning and for the use of the equipment. All right, moving on a little more specifically, what's the cleaning schedule? And again, one size doesn't fit all. So the actual schedule needs to be based on your assessment observations and could certainly be modified when circumstances change. And schedules need to be realistic. As I mentioned before, with galleries and separate historic buildings having their own schedules and logs. So to review base your schedule on reality, the visitor load programming, problem areas, seasonal demands, window and door use, as I mentioned, and then ongoing variations in dirt dust accumulation. And then the schedule would include the cleaning log with the date, time, name of the person, any collections condition, insect observations, and changes. And then one form that we've used here at MNHS would be sort of a setup form that you'd use for developing the schedule. You can make use of this or not. Again, I apologize for my voice. So this would lay out your actual locations and you could break it down, in this case for a gallery, to where if you have very different types of objects, say some in vitrines, some on platforms, open air you'd want to have slightly different cleaning methods for those and different schedules. So this breaks it down and kind of lays it out for further planning. Hope I can make it through here. Then your actual cleaning log, and again, this is a very rough sketch of one. You could develop one that works best for you, but it has the basic components on there. Again, it's the room gallery. In a house you'd have each room. You could use the name of the room or room we like to use, room codes. That tie in to our collections management system, room location codes. And it just lists how the form is to be used up at the top. And the date, of course, is important. Just a brief description of what action you took and who did it and any kind of observation notes. So that's main components of your log. And then this, I know that the print's probably a little bit small on this, but it shows actual housekeeping task list that we use at two of our historic sites, Ransey House and Sibley House. And this breaks it down again as I talked about before, the custodial activities at the top, and then by frequency. And then the historic housekeeping, you start cleaning for the house and the carriage house and then it has specific task activities actually spelled out, and then the frequency of that. And you'll see some of them are weekly, weekly and bi-weekly here, and just the continuation of that. And then just some actual examples when we talk about practical applications. This is actually the fourth commissary site. Another area of that same building. And these are actually program use materials, but I think it's illustrative of some exhibits may be similar to this. Generally, if it was actual collections, we would have plexi cover on the display here. This is open since the materials get handled. But for cleaning, probably parts of it would be done on a weekly or bi-weekly basis, the horizontal areas. Some of the materials would be moved out, so that would probably be best done with two people where you'd set up a small table next to this and then one person would hand the objects to the other person, clean the horizontal areas, do some light surface cleaning of the objects. Then the textiles could be done maybe semi-annually or annually where they have to be taken off the mannequin, moved out since a little crowded in there, and vacuumed under a screen. Something like that. And then this is a replica howitzer here that's surface cleaned and maybe once a year a little more deep cleaning on that, but at least to get the dust off the wood and metal components on a regular basis. Furnished historic is more typical of our mid-19th century houses fully furnished. In this picture the rug here is actually still the original. We've since taken that off display that's now stored in one of our warehouse storage spaces and we have a replica down, but even the replica for visits, we have carpeting that visitors walk on to protect that and cut down on soiling, but that would be cleaned annually and we cleaned the replica rug because a high value program use material would be or is cleaned the same, with the same care as we would originally want that to last. And then the smaller objects would be cleaned monthly or so with the monthly dusting, say the wood surfaces, and then with the annual schedule to take the smaller objects off this round table here and then clean the textile and then the surface and the more detailed cleaning of the wood details would be done most likely annually. Something that's a little more specialized I thought I'd mention would be full-sized diorama cleaning. That's one of the things that our MLAX Indian Museum site in North Central Minnesota, that requires definitely a team to go into dioramas. We do that once a year or so. Also for past inspection and inventories. That's a team effort that's specialized padded boards because we've got these woven mats.  The wigwam here is dirt floor or simulated dirt floor so once you get in you can walk around in there but that's just something to consider when I talked about developing or listing specific cleaning equipment for each different type of collections area. This is an example of that. Also that brings up, and this example as well would be a longer term cleaning activity which would involve cleaning the shelves, the horizontal shelves. But it's something in terms of developing your schedule in coordinating cleaning activities especially the longer frequency ones with inventory and rotations work. The actual example is just doing a periodic inventory at this site and worked in taking the plexi cover off and cleaning the shelves, taking all the objects down which we had to check numbers anyway for the inventory and also rotating some of these fans off display. So that's something to think about as well when developing your schedule is work it in with other collections activities like inventory and rotation. Then just another example of gallery. This is another one of our Native American sites, Lower Sioux Agency. It's a partnership site with the Lower Sioux community and it has a couple of full-size dioramas, the objects of the trains, and then out of the slide on the right is open platform storage with large objects. So it's a variety of cleaning tasks and scheduling here. The site partners would do the vitrine, the regular custodial and vitrine cleaning. This is plexi cover on some objects here so that has to be cleaned most likely daily. Annually I'll go to the site and go into the diorama here in the wigwam and clean that. There's a variety of frequencies and a cooperative project. And then special displays. This again is the same room with the fan display case over here. The rug here is original to the house so that gets cleaned by our conservator once a year using, well, we do have a maintenance, a collections maintenance assistant that works on that as well. And then these matic textile mannequins are rotated every year. So we'll do less cleaning on site of these, just be periodic inspection, but then once they come off display, they would go back to the conservation lab and be cleaned before putting back in storage. So that's just something else to think about if you have temporary displays. And then just kind of tie up some areas that could be easily overlooked, particularly in a historic house. They're corners, corners and tops of moldings so it's important that they get put on the schedule. Addicts and basements again even if they're not used for programming or even storage, they should still be on the regular schedule, particularly in the pest season. And this situation has changed since I took the slide. The window's been fully restored so we don't have the kind of pest you can see on the floor here. The carpet and pieces of wood have since gotten out and that makes cleaning a lot easier and inspection and removes harborage for tests. And then again, program use areas may require more frequent cleaning, particularly if the stove is used and there's programs involving food so that needs to be on a stepped up schedule with some special care taken on that. Then just getting some illustrations of what would be annually cleaned would be ceramics glass. But again, base that on actual dust accumulation. Also if you have on-site storage, in this case textiles, that could be annual going through and then that's a good idea to tie that in with a spot inventory at the same time. See if anything's been moved around or things pulled out for display and they've been put back properly so that's something that could be done on a longer term basis. And then a more specialized cleaning, which would be more of a conservation level, would be the silver in this cabinet at a historic site where the ceramics and glass pieces here can be done on-site. If we were going to do the silver, that would have to be packed up, transported to a conservation lab and probably looking at every five to ten years depending on the pollution level in that particular area, how fast it would break through the coating. Generally these things are given a spray coating, a lacquer, and that could last, as they say, five to ten years. So that would definitely be more of a conservation level. So touching on further resources and the role of conservators, that would be beyond what you would be doing with a regular cleaning plan to utilize conservators through a conservation assessment program or the state equivalent. And they can find, or their role would be to find problem areas with the building and interior objects that then you could use to feed into your cleaning plan. They could deal with acute pest infestations or damage if needed, freezing treatments, anoxic treatment, that kind of stuff that I know the others talked about. Conservators can assist with improving mounts, storage equipment if needed. They would come in and stabilize objects to allow for safer handling and cleaning and recommend based on their assessment when objects should be removed from display. So that's kind of information that conservators could provide. And then I've got online resources, and this is in the handouts as well. And then we talked about the assignment. So that's about what I've got, and we could go ahead and take questions. I don't know that there have been any questions. That was very thorough. Does anybody have any questions? No, I'm not either. Okay. Yeah. So Paul, Mark Anderson is going to give us a question. But Paul, you want people just to do one sheet for one area? Yes. Well, I think they could do more if they wanted to. But I think for the assignment, one is fine. Okay. Mark Anderson says, what type of wax do you use on the floors of the historic building? Yeah. We prefer the... I'm getting an echo here. Okay. I will undo myself. Okay. All right. That's good. I'm having enough trouble with my voice, so the echo just makes it even harder. A carnauba-based paste wax. So the brands we use, if you can get it, is Butcher's White Diamond Bowling Alley Wax. An equivalent is Johnson's Floor Wax. It's the flat yellow can. Those are mixtures of carnauba and beeswax and microcrystalline waxes. They're very hard and made for use, that level of use. Cleaning, just for regular dirt removal, Murphy's oil, a few drops of Murphy's oil soap, and then a rinse, let that dry, and then apply the wax. And trying to think if we do use mechanical buffers, sometimes just hand buffing is fine. But that's what we've developed for the use at the lighthouse, and that works for us. There are a couple of more. Jessica Noyde says, should you remove wax previously applied? What's the best method for removal? Right. Well, if you have wax, a lot of wax build up, generally it wears off on its own, but that would generally a little bit of, well, the Murphy's oil soap with a little bit of ammonia added and mop that off. That should work. What about waxing furniture? Yeah, I didn't have that in the... Okay. Thank you. I didn't show that and put that slide into this presentation, but we use the Renaissance microcrystalline wax for furniture that isn't heavily touched. Now, for things like handrails or handling maybe that gets used, doors, the butcher's wax can be used on that as well. I should mention that butcher's wax is in turpentine, so that could be used to remove build-ups as well. The microcrystalline, the Renaissance, is in a mineral mixture of mineral spirits. It's just something to think about with use with health and safety if anybody is a little sensitive, some people could have sensitivity to turpentine just to consider that who uses it and when it's used to do those kind of maintenance activities if you have a day or so before the site is open so you don't get people coming in that may have issues with that. Just something to consider. Gretchen says, would you recommend for washing dishes, et cetera? Okay. And my question is, I'm going to unmute myself again. For museums that are closed in the winter, I assume they can do some of these big cleanings, but if you have a museum that's open every day, how do you schedule around? Do you just close a gallery? Or how do you work around that now? I'm going to mute myself again. Okay. Yeah, for cleaning, general cleaning for objects would be a few drops of Orvis, the sodium laurel sulfate that's, I think it's even available from Amazon now, but we always got it from conservation suppliers like university products or talus, the gay lord I think carries it. And that's a general, very mild surfactant. So Orvis, it's even used for textile cleaning for the table covers and things like that. So that's what's recommended. Yeah, getting Susan's last question with scheduling, it would, yeah, if you're open, well generally places are closed at least Mondays. Most places have at least one day, so you'd have to schedule staff for that. You know, work that into your, if it's for annual cleaning or semi-annual schedule one day or like she suggested, close off a gallery. Yeah, with our sites it's less of an issue because we have seasons and then during the off season there may be groups. So sometimes, particularly for my inventory work I do have to work around the programming of the sites, but generally there's one day, Monday is usually the day that's closed, I think most museums do that. So you may have to break larger annual cleaning down into a couple of weeks. We have another question from Madison saying, how often should you clean dusting brushes and other tools? And how should you clean them? Yeah, well it would be best to do that, see how as soon as they get soiled, once they get beyond cleaning just replace them. But I would say, you know, if it's daily you may have to clean them after each use, vacuuming, probably to get the bigger particles off and then most brushes are washable. So you might want to have several or a set of them that you could rotate through or once drying. You've got the next one ready to go for daily, for weekly, you know, you do it when you're done by the next week it's dry. But yeah, I'd have a set so you could rotate those through. I think that's all the questions. Please click on this evaluation and do the evaluation. This is for the course. And remember that everything has to be in by midnight on November 8th. Gretchen, is there anything you want to say? And that means you have to have listened to all the webinars, done the assignments, and done the quiz, and passed the quiz. Gretchen, do you want to say anything? I guess she doesn't. Oh, here she is. Oh, I really just like the phone that they've given us. I think you've covered it at all. And the echo is horrible. Yeah, I don't like it. Oh, good. Now we all muted. Well, is that it? I just unmuted myself. So I think that that's it. So thank you, Paul. Thank you, Gretchen. Thank you all for participating in this course. And you'll have access to the course for a year. So you can go back and listen to the webinars or do whatever. But if you want to get the credibly batch, you have to, as I said, complete the assignments, do the quiz, and listen to all the webinars. And you need to do that by week from today. Paul. OK, and there's one more question about the quiz. How do we get, oh, OK, if you do the quiz and you don't pass, then it will tell you that you didn't pass. You have to get at least half of it correct to pass. So it's pretty easy. And you can just do it again. You have unlimited number of times. And I'm pretty sure you can click to get the answers. And all the answers are basically in Tara's presentation. So you can always look at the slides which are posted. So I'll post the slides for today's lecture later, and also the recording. And I'll let you know. Gretchen, were you trying to say something? Yes, I was. I'm going to mute myself.  And I'm trying to give you all good feedback on how you can go ahead with your ideas on cleaning that you're bringing up in the assignment. So as soon as you get it in, I usually do it in the evenings.  And I think that's it for me. Okay. Thank you, Paul. The feedback, yeah. The feedback, Don asked where does the feedback come from? When you do your assignment, the Gretchen makes comments on it, or other people make comments on it, and you should be able to get that through the education module. And if that doesn't happen, let me know, and I'll make sure that you know how you get it. I would get it through the education interface. Okay, so I think that's it. Thank you, Paul. Thank you, Gretchen. And thank you, Mike. Remember, we're going to have a webinar on LED lighting at the end of November and a webinar on a free webinar. Both of those are free on insurance in December. So thanks a lot, and we'll talk to you soon.


I wouldn't want to break the internet with how damn fashionable I am. What do we think guys? What do we think? Am I cool yet? Here's a good question. Where should we hide the body, Joe's followers? Where would be a good place to hide the body? Hello there, my beautiful, lovely, talented, and delightful internet friends. Welcome back to my channel. Thank you so much for joining me here today on Footless Joe, where I am still Joe and I am still missing a foot. If you've been on this channel before, I know that you've met T-shirt Joe. You've probably met Hoodie Joe. You've probably met Stretchy Pants Joe, even Athletic Shorts Joe. But have you ever met super cool and trendy Joe with a dog messing up her cool shot? Super cool and stylish Joe. I didn't think so. Today, we are going to be going on quite an adventure. So, I have mentioned before in passing that clothes are a bit of a difficult subject for me. Since losing my leg, since becoming a below-the-knee amputee, clothes got even more difficult than they already were. And I fall into this pattern of basically only wearing sweatpants, athletic shorts, primarily, hoodies, and t-shirts. And there's not a darn thing wrong with any of those. I love them. They will be staples in my closet until the day that I die. But sometimes I get really bored with that. Sometimes I get really bored wearing the same thing. I feel like how I'm presenting myself to myself, to the world, doesn't reflect what I want it to be. I think we talk about clothing and presentation often as like a vanity thing. But for me, I think that clothing can be a pretty powerful thing. Like, it's a creative expression of yourself. And I've been creatively not expressing myself through the clothes that I've worn for a very long time, especially because it's a little more difficult with a prosthetic leg. So, with that being said, today we're going to go on an adventure. But before I tell you what that is, a quick word from my amazing sponsor. I'm legitimately very excited to talk to you about our sponsor day because I worked with them about a year ago. I absolutely love what they do. And when they reached out to me again, I was like, yes, it's time. Sponsoring today's video, we have Ana Luisa Jewelry. You can see me wearing their beautiful necklace pieces here, as well as these super cool and cute earrings. So I've never worked with a brand that I didn't like or didn't use, but this one in particular I love because they make me feel feminine and fancy and pretty on days that I want to feel that way. You've seen me wearing their earrings in a lot of live streams recently because they sent this pair to me and I absolutely fell in love with them.  But their pieces are also beautiful and are great for dressing up, for going out somewhere, or because we're in quarantine. You're staying home and dressing up because you feel like it. Their prices, especially for the quality I think are outstanding. Their pieces start at $39 and go up, so that's not like completely breaking your bank account, especially considering the level and the quality of jewelry that we're talking about. Something else I think is really fantastic about them and worth mentioning is that they are a carbon neutral company. That means that a hundred percent of their carbon emissions, starting with the sourcing of the raw materials, all the way to disposal of pieces, is offset. As a company, they are all about sustainability, but they certainly don't sacrifice any kind of quality in that pursuit. As one might expect, because we are approaching the end of November, they have a fantastic Black Friday sale going on. So check out their link right below. Please use my code if you find a piece that you love. I guarantee at least a few things will probably catch your eye. So if there's someone in your life, be it yourself or someone else who likes to wear jewelry, please check them out. Like I said, use that code. And with that being said, let's dive in. So I happen to know some pretty cool and stylish people. One of my very good friends, Megan, is very into and interested in fashion and is fantastic putting outfits together. So there's that combined with the fact that I do not have a ton of money to spend on new clothes. Like that is just not in the budget right now. And so I asked her about how she might feel about going on a thrift shopping fashion adventure. And she said, of course. So let's go meet the person I know who's always been deep down in there somewhere. Cool, fashionable, stylish Joe. Looked like a bug. Let's do this. They wanted a good will with some pictures that sort of references of what we were looking for and kind of the outfits that she wanted to style me in. So we're going to look up. Let's look at some color ideas here. I'm calling this one Michael right a horse. I'm interested if I could pull that off. I've always dreamed of being a Dalmatian. Taking a detour here for some purple rain boots. Yeah, I feel like these are not high fashion. But practical for Colorado. And also they're super cute. And also they're purple. But the odds of me getting these on my on my leg and staying upright are pretty low. Let's see what happens here. Oh, no. Well, we tried and that's all that matters. Try and what matters. Disaster has struck. We didn't think about the pandemic and the fact that fitting rooms are going to be closed. So we're going to have to make some guesses. Yes, this could all go together potentially. I feel very America right now. Yeah, you showed red, white and blue vibes. Is this fashion? So we just discovered that this tank top is actually Jim marine, which is the children's brand. But it fits. But it fits. We're having some misses here with our trench coats. Yeah, the trench coats. Serial killer vibes. It looks like they're naked underneath. If all else fails, I have factor in. It's a win. Best t-shirt. It's a win. All right. So, Sam, what do we think about this oversized sweatshirt? Do we feel like it might be edging on too oversized? Like this is... Wear your hands at... Poke your fingers out, let's see. Yeah, I definitely think we could make it work. It would look good with some bike shorts. Starfish. This is great. Oversized sweater with some bike shorts. Excellent. Okay, cool. Yeah, yeah. Oversized men's sweater. We're thinking... Tucked in somewhere. Okay, now that you can actually see our faces without masks, I think we got some pretty good stuff. We did. We did get some good stuff. I'm excited. It's a little outside of my comfort zone, but not too far as to be like, you know, impractical. So we're gonna go see what kind of outfits we can assemble with the rest of our wardrobe. Yes, good stuff for thrift fine friends. Having assembled our raw supplies, our canvas, if you will, for the outfits to come, we headed back to Megan's house to actually start trying some of this on. So one of the big goals here, at least for me personally, was to try things that were a little bit outside of my comfort zone, try things that would usually be like, nah, I'm good, I'm fine. Let me just keep my t-shirts. But I wanted to go on this journey of sort of letting Megan push me outside of my comfort zone, and it was a lot of fun. It was awesome to kind of be like, yeah, I could pull that off, or yeah, I feel like I do look good in that. Welcome to the part of the video where I completely forgot to turn on my mic. So what I'm saying is, look at the clothes we got. Aren't those cool? Okay. And also this is what I look like normally. Megan's been turning to a fashion god. Let's continue. Okay. We have fashion, numeral, uno. This is not like anything I've ever wanted to put together on my own, but I kind of really like it. So this is my sweater that we thrifted from H&M. Like if I could learn, if I could teach myself to wear skirts, it would be so handy for leg stuff because I don't have to worry about like pants or shorts or anything like that. Look at Megan just put together. Yes. I could totally see myself wearing. Like either of those. Yeah. And I, I myself because I'm not, I don't have a amputated prosthetic leg. You didn't check your leg out. Yeah. I'd probably pair it with a heeled boot, but I think for Joe, definitely would look fine with like a flat, either one of these outfits. I'm just going to stick. I'm sprouting for this one. The pants, just snug. They're a little snug. You're seeing something like this. A pair of boot cut jeans, just a simple tee underneath. Yeah. And then a leather jacket that we first did. I think we just found a winner. I don't know. I feel, I feel stuck together. Okay. So one of the relatively annoying things about clothing right now is at the bottom of my prosthesis, I have this Velcro strip and seems to be losing some of the stickiness. So when I was trying to put these on, it just like pulls it right up and then it gets stick to the clothing. I've got to figure out a better way of making that work. Maybe like electrical tape or something. The sloth shirt was not part of the fashion agenda. Oh, we're going to make it a part of the fashion agenda. But we're going to make it a part. Okay. I feel like this is like, this is more in my wheelhouse of like jeans, random tee shirt, and then if I feel an extra fancy, maybe check it over. Yeah. But yeah, we just got the sloth shirt which we bought for fun, but we're going to make it work. So here we go. Blast of the past of turtlenecks. I grew up wearing turtlenecks and then I got made fun of for wearing too many turtlenecks because turtlenecks went out of style.    A good basic never dies. That's right. And this is, like this is just, this is super cozy and cute and just fun. So I've been told that the bike short look with like baggy clothes is in style. Yes. So this is kind of like a Kaia Gerber meets Princess Diana going to go do her aerobics. Also this would be super easy.  The bag, you're the better. Yeah, the bag, you're the better. What do we think guys? What do we think? Am I cool yet? This is the Joe Megan concoction. I think I like it. Yeah, I do. Joe X. Our fashion line coming soon. So clothing has always been like this weird topic for me. I was, I was raised as a homeschool kid which was wonderful. I loved that experience, but I already felt different than other kids and then like I didn't really care that much about the clothes that I was wearing. So it just sort of like reinforce that fact. So it's really fun to like play around with different styles and be like, what, what could I be? Like I can do more than just wearing like a hoodie and jeans, which is my daily at the moment. Yeah, this is, this is great. So once we were done upstairs, assembling our favorite outfits, we went downstairs where Brian was waiting with his opinions. Hold on, Brian. Brian's here. What do you think of my cool sexy clothes? I see how it objectively is a good thing, but I know her and it's just tough. It's tough to take it seriously. What? I am a, I am a legit badass. What is she talking about? She's so stylish. Turns out he is not a fan of cool stylish Joe. He likes hoodie and t-shirt Joe and frankly, I can't blame him for that. She's pretty great, but we thought we'll press on and see if a few other outfits in this fashion show would do it for him. All right, look number two. It's, they, they didn't. They really didn't. You're the worst. It's big. It is a little bit big on me, but I feel cool. Yeah. You look like- That's the point. You look like, is this still recording? It looks like you robbed your mother's wardrobe in 1994. Here, here's a good question. Where should we hide the body, Joe's followers? Where would be a good place to hide the body? I'll tell Elaine Bennett from Seinfeld. We found her stolen clothes. So we're, so we're over two on the outfits on husband thumbs up, but I'm thinking this next one, which consists of featuring a sloth, could be our winner. We're going to find out. Gail of one to 10, are we doing better? You're doing much better than the other two. Okay. Objectively one to 10? Yeah. I'm going to say two to 10, six point eight. Being coerced at least one point in that direction though. Peggy is what's in Brian. But I liked them and I'd love to hear what you have to think down below. So allow me to introduce you to model Joe's fashion show in front of a Christmas tree with a lot of puppies interrupting. This is just like, it's all very different. It like expands upon what it already wears, especially like the bike shorts and like baggy sweaters looking. I'm loving this. I am as well. I am as well. I had so much fun with this whole project with all of the pieces that we got. It was under $50, which is usually like what a pair of jeans costs. So that was pretty fantastic. And I learned a little bit more about like style and other things that I could do. And again, I just want to make a quick note that like, I'm not a, I'm not really into fashion. That's never been something that I followed, but finding a new style, a new way to creatively express myself on the canvas of my physical form was really cool. I don't want to stress this point too much, but frankly there are times when I'm really uncomfortable presenting myself to the world in any way. There are days they are rare, but there are some days when I'm like, I hate my prosthetic sleeve feel like it looks weird or there are days when I'm like wearing leggings and boots or whatever where it's very clear that my calf disappears on one side. And I know it looks fine. Like I don't have a problem with it 99% of the time. Other times I struggle with discomfort with what I look like. That's something I'll continue to actively work through. I'm really happy with the way I'm able to see my body the vast majority of the time, but there are some days when I struggle with it. So for me, doing something like this is really therapeutic, sort of celebrating and being creative and trying new things with my body and with how I'm presenting myself is pretty great. I know this video is a little bit different than other videos I've done. Don't worry, I am not turning into a fashion blogger mostly because I wouldn't want to break the internet with how damn fashionable I am. Thank you so much for going on this adventure today. I realized that there's like zippers on these sleeves and it's making a lot of noise. So fashion apparently comes at the price of audio quality. Huge thank you again to our sponsor Anna Luisa. I really appreciate you guys partnering with me for this video. I'd really appreciate it if you check out their site, use their code like I said below if there's pieces you're interested in. On the side note, this company has also been an absolute delight to work with as someone who works with a number of different sponsors. And I think that says a lot about our company as well. So check them out. A ginormous thank you to my patrons over on Patreon for continuing to support this channel and enabling me to do what I do here. Thank you. I am eternally grateful. And to you watching this video right now, thank you so much for spending a few minutes out of your day here with me today and also here with stylish, cool, fashionable Joe. You could be anywhere in the world doing anything and you chose to spend a few minutes here with me and I really appreciate that. Now if you find yourself thinking, I liked hoodie and t-shirt Joe, don't you worry, she'll still be around. But the powerful feeling faux leather jacket Joe will probably make visits on occasion as well. I love you guys. I'm thinking about you and I'll see you in the next video. Bye guys. So loud. Why is it so loud?