of unrehearsed futures, it's a season two, and we're celebrating, as of last Friday, our first birthday unrehearsed futures turned one last Friday. So very exciting. There have been so many wonderful experiences already with unrehearsed futures. Today, tonight, this morning, whatever time zone it is for you, we are inaugurating two innovations the first thing is that my esteemed colleague and longtime unrehearsed futures participant, Frank Chamberlain, I'm gesturing into his box, is going to be curating and I'm going to be co-piloting. This is a wonderful thing. Thank you, Frank, for taking the wheel. And the second innovation is that we have decided that we are going to split the session. Just try this as an experiment into two halves. The first 45 minutes, roughly, we're going to record and the second 45 minutes, we are going to stop recording. And we hope that this will enable the community discussion to be a little bit freer, less self-conscious. We can explore ideas without feeling that we have to have everything right the first time that we are going to be recorded for infinite posterity. So we're hoping that it can be more of a discussion in the second half of the show. And as people who've attended before will know, after the show, we just hang out. So the show doesn't stop. So that bit will just sort of extend into everybody's afternoons, evenings, whatever you'd like to do if you want to stay. So this session, we're going to be considering together this very bedeviled issue of neutrality and the subtitle is in actor training, the subtitle being help or hindrance. And I'm going to leave it to Frank to introduce our two wonderful guests, Ellie and Madhu. But before that, I'm going to introduce Frank. So Frank Chamberlain is emeritus professor in drama, theater and performance at the University of Huddersfield in the United Kingdom. He's founding editor of the Rutledge Performance Practitioner series, which he continues to edit in collaboration with Bernadette Sweeney. He edited contemporary theater review for its first decade, as well as the book series Contemporary Theater Studies. He's published on actor training, particularly on the works of Michael Chekhov, but also De Kru, Barba and Lukak. Frank regularly creates and co-creates performances addressing social issues. So thank you, Frank. And why don't I hand it over to you at this point? Thank you, Amy. So we have two guests today. Madhu Nataraj. Madhu Nataraj is an award-winning choreographer, arts entrepreneur, curator and educator with over 300 choreographers to her credit and performances in over 36 countries. She studied contemporary dance in New York and founded the STEM company, Space, Time, Energy Movement, dance company, which comprises verticals of training performance, documentation and outreach. Madhu has studied Indian martial art forms of Tongta, Kalari Payat and several folk and ritualistic forms. She is a certified yoga teacher pursuing a postgraduate studies in anthropology and also heads India's premier dance education centre, the Natya Institute of Katak and Choreography, founded by Dr Maya Rao and Kamala Devi. Sorry, Kamala Devi Chattopadi under the aegis of UNESCO. Wow. And Ellie Nixon trained at the École Jacques Le Coq International Theatre School in Paris from 1987 to 89, and in 89 she co-founded the La Manche International Theatre Company. The company is produced over 25 theatre projects performing throughout the UK, Europe, Scandinavia, Central and South America. Her research explores approaches to contemporary performance practice and performer training. She is currently running a BA acting course at Bath Spa University. Thank you. Welcome. How shall we kick off with this question of neutrality? Ellie, would you like to start?  I've really enjoyed attending unrehearsed futures when I can. I think the conversations when I can join them are very generous and I have really enjoyed how presenters have been so honest in sharing their ideas and concerns and suggestions. So I've really been sort of picking up on the salient points as I've been attending all of these sessions. My particular interest in neutrality is related more with the book I'm writing which is called Imagining Bodies and Performer Training and it's really about connecting Le Coq's more poetic, the poetic dimension of Le Coq's training to the French philosopher Gaston Bachelot and that sense of connecting relationally with the world and particularly with the pre-socratic elements of the earth, air, fire and water. So I'm really enjoying rethinking about the neutral mask. My training in the mask at the Le Coq School was an amazing reimagining or rethinking about what teaching and learning is. We weren't given a module outline or any suggestions of what we were going to be doing or any outcomes or learning outcomes. It was a journey of discovery and I think that that is something that has inspired me in terms of the teaching at the Le Coq School and so rather as a corrective tool I think if we think of neutrality as something yes that helps us to make connections, to reveal, to think about space, to think about the world and to think about connecting with others rather than that sense of being in your own head. In a world predominantly rooted in what American psychologist Robert Sadejo describes as a me cosmology I think the neutral mask can decentralise our dependence on the role of the self. So there you go. Wow. Madhu, do you want to pick up a response? Thank you Frank, thank you Frank and I'd like to say a huge thank you to all of you for having invited me here and initially when I joined in I thought I was the Le Coq pariah here because Ellie, Amy and Frank sort of have had immersive training in the form but very soon they led me into the philosophy and I started to find so many resonances in the Indian pedagogic technique. So neutrality as a concept is actually not taught as a separate phenomenon in Indian dance. So we are sort of led to that space through several processes and the first is something that is common to almost all classical dance and martial art forms which is the concept of the sadhana or the riyadh which is through iteration constantly repeating until your mind and body are saturated with the learning that you find a point of counterbalance and of equipoise and there you find your sense of neutrality. Also the rhythm cycle is called sum or sama which is also a term for neutral in Sanskrit some means neutral. The time is cyclical you believe that you started one point and then you return to that point so there's a 16 beat time cycle 10 beat time cycle whatever it is and that kind of becomes your mandala to birth neutrality in the sense that you travel you collect all these experiences and then you find because integrity is you know something that you find in India you don't separate you keep collecting until the point where you can distinguish and I'd like to say in my Katha training as a Katha performer the stance or the sthanaka is also called you know the starting point the sama is start over here and you come back over here so you layer as you start to create movement and you come back to the same spot so in the sort of how shall I say the pure dance technique there is actually a term for it but not so when you look at the Nrithya aspect where you're bringing in the expressive elements also there is one concept of becoming a character so if the dancer is the conduit if I'm a medium then at one point I have to become the dance and especially with in the dance theater tradition especially in the folk and operatic forms we have a concept called the pathra or the pathra travesh the pathra is the vessel but in order to take on the shape of that vessel of that character we first have to empty our own crucible is what one is taught to time and in order to receive that new experience and to become that character also I wanted to say that there is a very interesting concept for neutrality in the Indian aesthetics and poetics and it's called sadharini karana which means universalization of the rasa or of that emotion that the audience has to feel in a sense it's called the self-forgetfulness in order to transfer that experience from a neutral space to an audience who also in the Indian aesthetic concept are called the sehre there the co-resonators of this journey of dance so this is where I'm coming from I thought I'd offer a slightly different perspective from the Indian dance dramaturgy angle thank you right I'll lead you on to respond to that does anything immediately I think it's there are there are so many connections and you know neutrality is often defined as feeling indifferent nothing in particular and a lack of preference for one way or the other and I think the madhu is just shown that it's not that at all and and that it doesn't mean ridding yourself of all your personal traits of moving talking or being it doesn't mean ridding you of your habits or finding a correct posture and I think what it what it what it does perhaps in response to what madhu's saying is is and I'm talking coming at it from a different angle it sort of temporarily shatters our habitual ways of seeing doing and feeling and it brings us back to that state that harroway also terms as not knowing um quite often we're so dependent on I need to know what's going to happen before we do it or um Ellie are we allowed to or can we or should we um and I think it's madhu has described a really important cyclic or a space a space of not knowing um which is what Donna harroway terms it it's she describes it as a quasi uh buddhist value and and that the appreciation of not knowing and letting that be is something you learn in a serious relationship it's a kind of letting go um and so I'm talking about it perhaps it I don't know maybe more ethereally but in terms of learning and teaching that's what's obsessing me at the moment but I think also that sense of starting from the same point going on that journey coming back to the same point having that space um where you can shift direction change your ideas be open to new ones um and I think that that in those sense perhaps madhu and I connect the points of transition of transformation of moving from one thing to another from one character to another um madhu do you want to yeah yes absolutely uh thank and uh Ellie thank you so much for you articulated so beautifully I get lost listening to you but yes um you know there is a concept also uh you know I'm talking from my cuthug standpoint of what you call the eka patra abinaya and if you'd like at a later point I can write all these terms down and send them to you all uh eka patra abinaya is that one person who takes on several characters who as a solo artist most of our classical forms um you know um germinate from the solo uh dance tradition and only in the 21st 20th century do you see them turning into um group productions you know for the proscenium so um if I have to play five characters in a span of 20 minutes and I remember Ellie and Frank demonstrating to me with the with the mask how how how you use the neutral mask and become uh that uh element or or a person um so we have uh various devices one of them is called the palta where you turn and you become a character and they it's it's almost like working with the polarities and you have to have um a lot of a mature dancer sometimes I think is the perfect conduit because you have collected those experience and you can shift from that space of neutrality to to becoming the character and back um you know and also we we looked at the similarities and how you shift from one to the other um and I I completely agree with you it's not really about forgetting who you are because how do you you know sort of leave your cultural compass in a sense your imagery that you inform by a behind and I think neutrality in that sense has to do with holding onto your distinction in some manner uh before you transfer into another character so I will perform my path Abhinaya differently from Ellie for example but we will still create the same rata uh in the audience uh of of horror or disgust of whatever it is in terms of teaching uh uh you know this these are again in India as I said everything is garb in symbology so much that definitely neutrality I understand is is is an undercurrent you know and uh when I when I teach uh if I teach Kathak then of course it is it is a time to ask them to drop the other baggage or to unlearn I'm constantly asking dancers to unlearn in in in the contemporary scenario sometimes uh dancers enter a space knowing that they are going to be trying movement that has a universality about it already uh you know it's not sort of blocked by the rigidity of a certain form and I find that over there moving from neutrality to uh you know becoming that particular element the dance itself um in I sometimes find uh a little more easier uh in in movement transparent I would say so I just wanted to say that could I add um also just going right back to Lecoq on this point that Mardy brings up I mean he describes the neutral as a state of combining calm and curiosity and I think that's what we you know it's that space that we very rarely allow ourselves particularly in in what's happening in in the contemporary world but that as a learning group it's a group of learners together along with the educator we we we discover a sort of an accepted reference point um that we work through and work out together and it's through that as Lecoq says that we discover our own point of view and so of course there's as he says you know there's no such thing as absolute and universal neutrality it's merely a temptation but that sensation of calm prior to action um a state of receptiveness to everything around us with no inner conflict is absolutely that I think it's actually a felt space I don't think it's um a rigid you know it's not a nothing space it's something that we can discover and feel and sense I am in a neutral space as as a reference point and then when you do have to shift from character to character to character you've been through that the rigor probably of that training and it becomes second nature to you um Coppo says something quite interesting Mardy that he says an act of a snow how to be silent to listen to answer to remain motionless to start a gesture follow through with it come back to motionless and silence with all the shadings and halftones that these actions imply I'm going to pick out something from the the chat if that's okay um Amy's asked the question if we're looking at also at a mask and a dance form is there not a tension between the repetition of existing form or having a form dictated and the not knowing to which you are both giving value I think you might have just answered that I suppose they're not knowing um riffing here but I think that they're not knowing is your availability or disponibly I'll say it's saying it in Spanish but thinking about it in terms of yeah it's a sort of some people here would call it a pre-performance it's a stepping stone towards something it's not necessarily the performance itself and um I think well my interest is it absolutely in its connection to that sense of the poetic I mean I'll never forget uh because the teachers at the Lakoc school of course never show you how to do something but I do remember Lakoc in the Queen Elizabeth Hall I think it was the late 1980s the first time I saw him wear one and the impact of that and getting a sense actually that it's about carrying a vibration um an amplification or reaching out you know the walls of the Queen Elizabeth Hall stopped the energy went beyond that and so I think that that's an energy that you carry with you or the resonance that you carry with you that can go through the rigors of form um so for example I'm writing something on judo as a devising form but I think that they that they tune in to that disposition um or that availability that the mask offers what do you think Madhu um I think in answer to that question Ellie and Amy I would think that I just think of balance of the two of of the value of iteration because it gives you your muscle memory and also somatic intelligence in a sense uh I mean there are times there are there were some pieces as as I now I've been dancing for work 30 years and I learned a lot through Osmosis too and there are and you can make me I'm in the middle of a night and there's a certain piece called the Parana I will do it you know the big blood I think to think at all but it also allows me uh in that sense to lose myself uh because because in a sense my it's already gotten yeah got into my genetic memory in a sense and I think I have to be able to I want to have mastery over the form but this ease of coming in and out which allows me to to also forget so I think it's it's a strange collision of the two but I I would probably choose a balance does that make sense I think so um I'm wondering about um the but they were talking a little bit earlier earlier you were talking about um kind of energy and I was I came interested in the way in which um you know the techniques and the physical techniques the ways of channeling or constructing flows of energy yes um and so how how this relates to neutrality I mean when we're working with with the neutrons with neutrality how does that work with what is what's a neutral energy or there's a positive and negative what's a neutral energy does that have any kind of meaning in this conversation I see it as a sense of you know an openness to resonance that there's a I live by a river and um there are lots of reeds in the river and kingfishers and when a kingfisher sits on a reed it's in constant vibration and movement but appears to be still it's a sort of an active space a space of readiness in the moment a way of corporeally or bodily listening that I I think um is I think it's an it's that sort of energy which is a held energy but it's a it's it's yeah it's a sense of vibration rather than a solid form I mean there's a beautiful moment which reflects I think that moment that I saw of Lecoq doing this he just sort of opened his arms and he was wearing the neutral mask there's um an improvisation that we do we did at the Lecoq school that we carried on at our school in Chile at La Mancha school of image and gesture which is the fundamental journey which was broken down beautifully by the staff at the Lecoq school and it was you were in a way guided through the journey but never told how to do it and you bit by bit discovered that energy of this invisible terrain that you were actually inventing through the process of um in an empty space you know climbing mountains um uh going through water uh running down mountains going through forests coming out of the sea and then there's this beautiful moment at the top of the mountain or when you're looking down or out which I felt that Lecoq captured and the French philosopher Gaston Bachelot calls it a panoramic gaze and he says in sweeping the gaze around the horizon the dreamer takes possession of the whole earth if only we take pains to look and it's that sense of having an energy which isn't internal but it's outward facing does that make sense Frank? Makes sense to me yeah yeah I'm just I'm just wondering here whether this is what you meant by equipoise model when you did this idea of the the image of the kingfisher balanced on the reeds sensing um things that are part of this kind of energetic movement yes I think that means it absolutely. I was also thinking of of an instance I mean in cultural anthropology um I mean you study um before going into movement analysis um this exo music college is called Kurtzaks and um you know um and he speaks of um dances in harmony with the body and dances out of harmony is the body so in harmony with the body are dances you sort of have control over so the neutral space being your starting point but the intent is completely different dances out of harmony with the body are more extroverted hunting dances you know could be you know initiation ceremonies but close dances are to do with being closer to an imageless sense to be to be closer to the womb to the center of gravity etc and I I think that's a fabulous example also of of of moving from a point of of being hinged as Ellie said about the kingfisher and also creating this sort of expansion on the other hand in Indian dance like I said everything used to be codified in order to maybe find your own voice a little later you have the concept of last year and Sandoval which is the rigorous vigorous dancing like the expanded dance and the lyrical which is uh you know the closed dance and in a composition in a progression you can see both you know and the ability to do that again comes through factors and iterations I just thought I'd share that that the image came to mind as Ellie was speaking thank you there's something um Frank going back to this sense of energy that Rosie Braidotti says she she she offers you know magic vision of the body as a multifunctional complex transformer of flows energies effects desires and imaginings and I think um I'm just talking about the neutral mask at this point it's that holding it's a space for holding all of that and it really gives a sense to the learner I mean I got it for the very first time in my life having done a degree and acting and performing I got a sense and it was a slow process for me of suddenly getting an embodied sense of who I am of um that you know my fingers and my toes and they all can you imagine they're all um nation and also yeah I think I think we've lost you Ellie Silver yeah can you hear me yeah you dropped you dropped out for a second um John can you can you repeat that last bit again um yeah just that I think with the neutral mask for me um in at the in my experience at the Lecox school um was for the first time a sense of my embodied self of in relation to the world um rather than being in my head all the time I had the opportunity to develop myself and be myself and explore myself in relation to others and to other they're more than human I suppose would anybody like to comment on discussion so far um I'm just um thank you I'm just going to uh I have a little bit of prior knowledge unrehearsed futures is not entirely unrehearsed haha um I just wanted to uh just uh because I have some prior information about um the anecdotes that you've both given uh Madhu and Ellie about how neutrality figured in your creation of new work so so it was I was particularly struck by those anecdotes uh I remember Madhu you talked about that very eloquently but would you mind telling us again about this wonderful me again and the the the group about this experience the way you position neutrality and innovation funding which one of those anecdotes we shared a lot I remember we had like a two three hour conversation I I just wanted to share um an anecdote actually about a theater company um that I worked with but before that you know something came to mind when uh Frank was asking us about um if it's possible to shift um you know completely there is a dance form if you see the folk and ritualistic forms in and in and the jatras of course we have that vision of the female and the male dancer the Arjuna Rishwa constantly shifting from one to the other just one dancer they call impersonators but there is also a very interesting character in uh folk forms called who's called who's the mediator character who became becomes female when he's talking to a woman to get her secrets and then the same person turns around just the other side and starts becomes male and speaks to another just thought of an interesting image uh so I was telling Amy um Ellie and Frank the other day that I uh I've had the good fortune of working with several theater directors um the past two to two and a half decades and one of them uh was in particular peculiar um person Dr. Karan TV Karan and he believed in the Natya tradition of each dancer being a you know of course trained in theater but also a dancer and musician and um Rangayana is the theater company that he founded in my store and these actors have had training for 15 years or so and the um one day Mr. Karan calls me and says Madhu I want you to choreograph something for me the contemporary piece I said okay with my dancer they said no with my theater actors and I was just thinking you know how are they going to do this so he said I said okay Karan Ji when when is the event and he said a week from now and I said hopefully I took it up it was a 10 minute choreography nothing short so I land up at the space at the studio and there are these 15 dancers I'm sorry actors or farmers let me call them and um I said okay and it was about the um the the concept of aviation it was called flights of fancy or something like that for an area and their show so I started working with them and it was so easy and within two days I had transferred the choreography onto them these were not dancers but they lived this philosophy of learning and saturating their mind body spirits in such a way that they could easily they were perfect neutral ground to take on and the funny part I see any uh smiling is that uh I kept calling Karan Ji and Karan Ji when is the music coming when is the music coming you know and costumes and I know costumes they're going to just wear you know their black t-shirts and tights and that's it I said okay music you'll get it tomorrow tomorrow tomorrow till the day of the event we didn't have music and I was having babies and the actors were all you know having a smoke and sitting around checking their horns and all that not bothered they were used to this and the music arrived five minutes before the show and we all heard it for the first time on stage and the actors did a fabulous job to me that was really a space uh the space that you know that they did created uh of uh neutrality I mean just jumping from one to the other uh was was absolutely fascinating but I almost had a nervous breakdown doing that we speak of it but to see it um as that closely was actually quite quite scary and wonderful also so is this the story Amy? Yes I mean it's very related the one that I remembered was the one where you said uh you you were uh devising from your background based on experiences you had in New York and you just waited basically for the new form to come through you I thought that was really would you like me to share that or have I taken too much time? I thought I thought I'd love to hear yeah sure sure yeah so um this this was a time about um 20 odd years ago when I was still studying in New York I was at the Limone Center and Martha Graham Center and I at one point started to miss both the fragrance and stench of India and I felt I needed to create imagery that that I was informed by as I grew up etc but also found a universal language and having come back I had to learn through trial and error and uh revisited all the forms and I looked at these forms now very differently from a from a space of neutrality in a sense because I again I unlearned and learned everything again before I could transfer it uh into into my um to vocabulary that we were forming and uh which was both the sort of personified the collision and the mysticism of India in a sense uh in in the body sense so thank you there are some fascinating comments in in the chat and I'm wondering if we might start to pick those up now um just to scroll scroll up a bit I think um so sorry I'm taking a bit of time flying to um I'll I'll go back if I miss anybody and come back um I hope I'm uh says I connect to the idea of neutrality as pre-performance or reference point um a receptive place so I wonder are there specific qualities of a performer's neutrality for example I would argue that a performer's neutral is much more energized than an everyday state are there other qualities do these canvases vary from discipline to discipline so I think I've put that as a kind of open question comment if anybody wants to respond to it or Ho Fan if you want to say more yeah hi everyone so I'd love to say a bit more so I trained under the lockhawk system and then afterwards I came back to Hong Kong and I learned with other disciplines including for example Bouto, Japanese dance form and so on so I've been hearing a lot of very good definitions of neutrality that I have to do very much about what I I would use the metaphor of the canvas in the sense that it is a foundation for a performer to be ready to be present to be receptive and so on so in that sense it seems like under the title it would definitely be a help not a hindrance but I would like to introduce this idea because I've been through the lockhawk system of when maybe certain neutralities become a hindrance or could they are different modalities of different neutralities that we can access and I think that that is where I'm interested right now because I feel like being present as a performer being open-minded being you know ready I feel like that that's just the basis of performance and just to add a little bit I would feel like that this foundation is an energized state it's a state that is more live a more sensory open and in some ways it steps beyond our everyday time so Madhu was very good when talking about the idea of circles and return and I do believe that theater we give a more intense experience or performance in general we give a more intense experience to people that is beyond the everyday experience of life through that we in dance in butu dance in particular they talk about everyday time as linear so we we go from A to B very often in life but it becomes a dance when we access cyclical time or we access repetition we access different understandings of time so that just that as a foundation of neutrality but I want to throw out this idea of the idea that Lecox neutrality is I would characterize as very extroverted energy we even the neutral stance I would feel it's very energized in the hara the center we're projecting we talked about projecting in the music hall projecting two different spaces we're throwing energy at the audience pretty much and I also feel there are different types of neutrality that do not just feed the audience if we look at a lot of if you look at very classical Chinese films and you know the woman in Chongsam and there's a different type of aesthetic which is very interesting similar to the Kingfisher I think in which the person has a presence a particular feminine presence that is very inviting and magnetic and yet it's a very different type of energy than someone than a type of throwing outwards and I feel like in my journey in performance it's important to be able to freely access both aspects to be extroverted and to be introverted at the same time yeah so I just want to throw this out there in the sense that having a flexibility I feel like as a performer is important so I want to tease out qualities beyond just the idea of okay we are present now and open and ready for performance and to look at the different modalities of campuses or accesses of different types of qualities that we can have and maybe supported by disciplines and philosophies too because for example in Bhutto the emphasis is not so much on a body it comes there is some Buddhist tradition behind it in the sense that they believe that performers and indeed us human beings basically rent this body in this part time so we should be able to able to discard and put on these these different shapes that we shift in right and out of and Bhutto is you basically go from image to image and character to character in the dance and all these in that sense the form doesn't even exist the idea is to get out of the way of the image and totally get out of the way of almost like channeling in that sense although a very skilled Bhutto performer my teacher would say you need to be half shaman in the sense that you have a very stronger grounded aspect of technique you're aware you're aware where the light is you're aware of the audience you know how to present at the same time you're actually channeling that particular image or that particular form and there's a leak between assembly and the metaphor in the sense when you perform you don't become like a cat you become a cat like mentally you just have to shift into that place and when you shift into that place where you are that thing then there comes the receptiveness that Ellie was talking about in the sense that it is new it you are that presence informs you of the thing so yeah can I respond to that Frank is that okay yeah I that's that's fascinating I think I haven't really talked about it as a as a as a performative as a way into performance although I know that it's accepted as that I feel that it's a gateway into making into creativity into making making your work I wouldn't describe the Cox pedagogy is as a system that's what I really feel I think it's an approach to learning which you take what you want from it but I do think that there is a double flow of our attention that I don't think it's just being aroused by the external world I think it's also you know the inner and the outer and and that connection between but it's really fascinating that you're connecting it to to buttock because they are all interrelated that's that's me Madhu yeah I'm listening to Hopa and you Ellie I think I was just thinking you know neutrality is almost to me I think it's about coming home in a sense you know before taking off to whatever it is that I am being that day whatever it is that I am becoming when I'm becoming my dance in that state and I remember I think listening to these whirling dervishes of Konya as they're sitting down and as they're meditating they say that when you have the realization that there is an inner and outer order that you're you know constantly trying to navigate but in this case with rhythm so I think also another point about about butto that you were making I think in Indian dance also we have and I think I would be dancing at a Jehan would agree especially when you look at the folk forms or practical forms we have the concept of unity of space and time so you move around one circle around a room and you're in heaven you move around and you've moved to a cave somewhere you know and so I think to be able to not only look at what you are becoming or not but to to the juxtaposition of space and time also going on constantly and you're working within the parameters of a form which by itself is very complicated I think there has to be a very strong sense of home and neutrality to in order to do that and I definitely think in the context of tonight today is the discussion is it help or hindrance I would go with help thank you we've gone over the 45 minute time and I tried to make a couple of interventions and I realized I had myself muted so they didn't work so we've gone over the 45 minutes we can we can go for another five minutes of recording I think if people would like that to happen or we might we could just settle with neutrality being about home and then play from there does anybody want to commit anything to the record or should we just move into closing closing the the the recorded session and moving into the more free for all do you hand sign close okay so recording often thank you


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Thank you. Welcome everyone and thank you for joining us for today's webinar. My name is Marisa Kings Garwin and I'm a collection digitization librarian with Harvard University Library. And I'm also a member of the DLF project manager steering committee. So today I'm going to be hearing from Molly Bragg and Louise Smith about how they use the tools Jira and air table to manage different aspects of their digital projects workflows. So just a little bit of housekeeping before we get started. If you have any questions during the presentations please put them in the chat and I'll bring them up at the end of both of the presentations. And we are recording this webinar, and it will be uploaded to the DLF YouTube channel after we are done, and we will not be recording the Q&A session. So without further ado, let me turn over first to Molly Bragg. Molly is the head of digital collections and curation services and the digital collections program manager at Duke University Libraries. So Molly is going to be sharing how Duke Libraries Digital Collections program collaborators use Jira and Confluence to manage their work. So over to you Molly. Thanks Marisa. I'm going to share my screen. Can everybody see my screen. Okay, good. Put it into slideshow. There we go. Hold on one second. Hello, as Marisa said my name is Molly Bragg, and I work at Duke University Libraries. Today, I'm going to talk with you a little bit about the context for our digital collections program just briefly and what we need from project management tools and then we're going to go into a demo of Jira and also Confluence. Alrighty. So first off, what is Jira and Confluence anyway? These are both products created by a company called Atlassian in Australia. They also own Trello if you have used Trello in the past. Jira is an application that was designed specifically for managing agile software development projects, but it's also just a really intense task management tool. So Confluence is a wiki and so you can create web pages and share them and things like that. There are a lot of integrations between the two products so in my experience I've always used them together, though you can license them separately, which I just found out today. But at Duke our digital collections program has three main goals, digitization, digital preservation, and online access to our collections. That's our URL at the bottom of the screen. Note that we do develop our digital repository and access platform ourselves and we use Jira as part of that work but I am not going to cover that today. I'm only going to talk about digitization project management. So many of you can imagine or have experience with our digital collections implementation group is distributed across different departments and different divisions within the university library. I think this is pretty common among digital collections programs, but it means that we need tools that we all have access to that we can all speak the same language on and that we can kind of dip in and out of. And I say that because a lot of the folks that I work with, they have other priorities, other work that they're managing. And so for their digital collections work they really just need to go straight to it and know exactly what they need to work on for that bit of time that they have for it. Sorry I keep hitting the wrong button on my keyboard. So we entered Jira. We started using Jira in 2016 2017 and the license, the purchase of it was really driven by our software development teams. However, once it arrived, I started using it with a couple other colleagues for digital collections. I want to note that we pay for a hosted version of Jira and Confluence so we don't host it ourselves but you can host it yourself. And we use Jira on the digital collections team for all all of our workflow work post scanning. So after something scanned the digitization digitization folks submit a ticket for ingest, and then we start managing the work through Jira so digital repository ingest description review metadata crosswalking permissions management, and then any configurations that are needed for the specific project that all happens with the team in Jira. So now I'm going to do a demo and walk you through you can still see my screen right. I'm just going to apologize in advance because I'm trying to move slowly and deliberately through the tool but I am probably going to be jumping around a little bit too. Alrighty. So here we are in Jira. This is my dashboard, which I've configured so every time I log in, I see this. As I mentioned, Jira is a really good task management tool. So, all of the various tasks are called issues in Jira vocabulary. And you can make different kinds of issues so an issue can be a task or a story, or a bug, or you can design your own kind of task as well. You can organize tasks into groupings called epics. And we use epics a lot. That's what you see on the right hand side of the screen, and I'm going to walk you through to epics today. Just a general note that you can do just a ton of customization on your Jira instance and your confluence instance that has like tons of fancy features also at kinds of bells and whistles. When I first started using Jira and Confluence, a colleague and I did a bunch of customized stuff because it was cool. But I found it really hard to maintain and so I was spending a lot of time managing Jira instead of my work. So I took a different tact and now I just do everything as simply and as out of the box as I can with Jira. So I did not use a lot of the fancy bells and whistles. Alright, so here we are again my Jira dashboard. We have a couple different groups in the library using Jira, and so they all have their own projects. And so that's what you're looking at now. We are going to stay in the digital collections project for today. I told you I use epics to organize my issues. So we're going to click on one specific epic. So we can see what that's like. This is the view of an epic. This epic is named for the specific project that we're working on with it. It's called Behind the Veil. It's a digitization project that's gone through many iterations since 2011. But with this view I get the epic itself and then I can see at a glance, all the issues that are associated with that epic. I can even see at the top right below where it says issues in this epic. This green bar is a progress bar. So it's green. That means I have this many done issues. And if you hover over it, it's 15 done, 5 in progress, and 10 yet to do. So for an overall rate of like 50%. So I'm 50% done with this epic apparently. You can see all the issues. As I said, there's the issue number, the issue name, and then you keep going over to the right and you've got the person it's assigned to and the status. So this view is really good for me because I can look at a glance and see, okay, these things are done. These things are in progress. These things are yet to be done. And from here I can change the status or assignee really easily. So this, this ticket down here launch video tapes. That doesn't have an assignee, but it's actually supposed to be mine. So I'm just going to assign it to myself right there. And now I've just gotten an email that says I've been assigned something. Let's look at a specific tickets. Click. There we go. So this is one specific issue or in this context it's one specific bit of work that has to be done for this project. In this case it's an ingest activity. So our digitization specialists when they're done digitizing files, they submit a ticket for it to be ingested and they include all this useful information about the files. So this is an ingest to our staff that does ingest. You can tag people in tickets, you can use attachments in issues, and then they've got these great comment threads. So, some of our comment threads get really long if people have questions or something looks bad. You can tag people in comments so here my colleague Medina assigned something to Maggie and tagged her Maggie got a notification. I can add other tickets to the comments and it renders dynamically which is pretty cool. So let's say I want to say something about this particular ticket. It pops up the issue number, the title and the status which is pretty cool. Is that all I wanted to say about that. Oh, also within a issue you can link different issues together pretty easily. You can also create sub tasks, which I didn't mean to do. You can create sub tasks so you can go from like the hierarchy of effects to tasks to sub tasks if you want to. I personally don't use sub tasks because I find they get lost. And so when we start using them, I always miss them, and then I don't get my work done, and my team gets annoyed. So that is the basics of issues, and this particular epic. This particular epic, as I said is organized around one project, and you can see that the issue titles are for the specific tasks associated with that project so we have ingest we have metadata. We have launch, all that stuff so that's one way that we organize our work in JIRA. This way the advantages of doing it this way is that if the project is really big like this one, then you can be working on different phases of the work. We also have some tandem so we've got in the in progress we've got a bunch of metadata going on, but we also have some launching, and we have some ingesting going on, and it's really good because sometimes our work isn't exactly linear. So this is is really good for this type of large sprawling project. So what we're going to use ethics is to organize them around specific services or workflows. So I'm going to show you a different epic. This is called DPC scanned patron requests folder level. And this is for our patron request service that we do with the Rubenstein Special Collections Library. Patrons can send us stuff that they need scanned. And we're also since right before the pandemic we started coming up with a workflow so we could ingest and provide access to those scans as well. And then the pandemic started and that's like all we did. And that's like all we've been doing for the past three years we've done, we've done some other stuff but it's been the majority of what we've been doing is this patron request workflow. And we just put all of those ingest requests and the associated work under one epic that is for that specific project type. This specific epic has over 500 issues associated with it. So there's so many issues that it actually doesn't display in your typical epic view. So Jira makes a nice little canned search for me that I can look at all my 509 issues from here. So there's obviously many, many, many issues on this view. But I can sort them, I can sort them by status, by assignee, things like that. And you can see where's the one I want to look at. Where'd it go? Nope, not that one, not that one. This one. Okay, sorry. So with these particular tickets, instead of having one ticket per activity, we just pass the ticket around. So there's the ingest information. But then you'll see in the comments. This one has a lot of other comments. But basically, we will pass the ticket from person to person as the work goes through the workflow and then we just make little comments. So here Maggie said, Hey, the metadata has been applied. And then I said to the next person, Hey, this is live put it on the finding aid. And then they did. And then I found an issue. So we just passed the ticket around basically and make little comments about our updates. And so for this specific workflow that works really well because if we were making tickets for every activity, we would make tickets all day long and there'd be four or five times as many tickets. So when you're looking at the issue, you can easily change the assignee over the right hand over on the right hand side of the screen and things like that. And you can see it's associated with this epic right there. Okay, let's go back to where we were. So again, like this view, I can easily sort. So here I'm looking at all the won't do and done. I can do by assignee. I can see that the search bar at the top of the screen changes as I click the different sorting options. This search bar is using the jury query language. So Jerry has its own query syntax so you can build your own complex query to slice and dice issues and get a different view of them. That's because you can put a lot of issues in JIRA. So we have a ton of issues across all projects. I just clicked on all issues. So if I don't want to use this JQL. I can also filter. So here let's do just things in digital collections that are tasks that are in progress. I can also just say what are all the in progress things that I'm supposed to be working on, and I can add myself. And now that I've gotten this view of all these things that I should be working on, I can actually save this as a filter. So that when I come next time. I can just click on that and know when I'm supposed to be working on. So that is really advantageous for my team members that come in and out of digital collections work. They can just come in and say like what's assigned to me and start working on that. And I have a couple saved. This is my other one for just the patron requests I'm supposed to be working on there's only seven right now. So I'm going to do this one more before the end of September. And yeah, so that's Jira there is, as you can see there's a lot of issues. It could be easy to get lost in there. And that's where Confluence comes in for my team. So here we are I just clicked over to Confluence which is a wiki. And it allows you to create web pages and organize them. If you click create Confluence actually has a whole bunch of templates that are pretty cool. A lot of them are designed around agile software development, but some of them could be repurposed to anything they have a project plan. This is a pretty great looking project plan that I think could be applicable to other projects. What I've done is I've created my own template. And what I do is every quarter I come in to Confluence and I create a list of all the projects that we should be working on in a particular quarter. So this is the quarter, April through June 2023. I have my little graph collections to launch, or I'm sorry my table collections to launch. And then each row is a priority project. I can embed that epic link from Jira and it displays dynamically. I can add some notes. For example, down here on the second row we've got a project listed and then it's got some notes like waiting for Aaron. Just a high level note. And then I embed these little charts that show you for each epic how many tickets there are and what status they're in. So, for that last quarter we were working on this one this Duke basketball films project and you can see there's 14 done issues and there were 14 total so we must have finished that one. Good job for us. So we've got all the ones we're going to try to finish in a quarter. And then at the bottom I've got ingest only. So these are ingest priorities if it's a really big or complicated project will spend more dedicated time just ingesting it. And this is just to keep my team focused on whatever work they're supposed to be working on in a particular quarter so they don't get lost in Jira and wonder what they're supposed to be working on. And it's really easy to make these charts. I think that's all I wanted to share with that so let me pop back to my slides. I want to talk about what works with our use of cheer and confidence. It turns out that a tool designed for task management is really good at it is very good to create to do is assign them to people and see how people are doing on them. It's an orderly priorities page that I set up and confluence and maintain those work really great for me for the team for our stakeholders I think I think those are successful. Another cool thing that I didn't cover in Jira that I really like, you know we have different groups working in different spaces within Jira, but because of the way they do epics and because of some of there's even some labeling options that we didn't look at either. It's really easy to tie issues together from across different projects. So if I have a digital collections project but somebody's doing a development project that relates to it. I can link them together in the same epic really easily which is cool. Oops, not done yet challenges. There we go. So it is price point and limits for our subscription. It's expensive. We pay for 100 users we pay, oh, pay something like $13,000 for both cheering confidence so it's really expensive. And we're limited by the number of users we started out with a much smaller account and we had to be really judicious about who could use it and the organization, which isn't great. So it's really hard to reserve, you know, even for me using trying to use all the out of the box features and not customize anything, it still takes a while to get used to. Also I showed you a little bit about searching and setting up views of different tickets. You can do a, you can do that in a lot of different ways, and sometimes it can get kind of confusing. And someone says I'm looking at this board, but you don't see the same issues that they see because you configured your board slightly differently. It can get kind of tricky that way. That's all things that can be overcome but it is a bit of a challenge. Okay, that's me I talked a lot. I'm sure we'll have time for questions but that's my contact information to thank you so much. Thank you. That was fantastic. So we will hold questions until the end of both presentations. So right now I'd like to introduce the lease Smith of leases the digital library project manager at the University of Southern California libraries, and she'll be sharing how the USC digital library team uses air table over to you release. Okay, let me show my screen. I should be looking hopefully at air table. Air table is a cloud based tool. That one's our cloud based tool that's basically a database in a spreadsheet view. And what I would like to show you in these 20 minutes is if you collaborate with a team and you're getting frustrated with Google sheets. It might be worth looking into your table. In the background, I'm the project manager for the digital library at USC. Back in 2019 I was manager of the digital imaging lab. And at that time we typically had two to three digitization projects at a time in the lab. And then we received a contract to digitize the archives of the Department of Defense and because of the huge scope of the project, juggling Google sheets just wasn't an option anymore. Since I don't have time to get too in depth, I just want to show a base that's pretty simple but very helpful. So this is the metadata tracking base. You can see that it looks like a spreadsheet but there are colors. This base is used to track everything that we that we put into our that we upload into our dams. So this first column is called batch identification, and this is the name of the folder that's been uploaded into the dams. This is the collection that it's a part of number of files within the folder, the name of the person who uploaded it, the date it was uploaded. This is the person who's going to do the metadata. And if metadata is completed, the date that the metadata has been completed. So it's pretty straightforward, pretty simple. And I created it this way on purpose because getting a buy-in from a team is always really difficult. So I just want to keep it as simple as possible. And this is what these columns are because it gets kind of cool. So batch identification is a long text field. And I'll show you an example of that. But long text is pretty cool. This is just my like to-do list. And I just, I'm in a tab where I'm looking at each project. And this is a, you can do rich text formatting so I can do like little checkboxes, bullet points, bold italics, whatever. There are lots of options, but that's what you can do with long text. This one, it looks like a little gray square. This links to another record. So this is how all the tables speak to one another. This one, you can see if I double click on it, it links to this table right here. So that means that they're trading information back and forth. And I'll go into that in just a second. This one's a number field and pretty straightforward. It just means you can only enter in a number. You can't put any letters in here, which is really good for keeping your data really clean. If I'm using this field for a formula, it's not going to give me errors because it's only numbers. Uploader, so this is a single select. They also have a multiple select option, but one upload is done by one person. So it's a single select and this is kind of nice for like a controlled vocabulary. So you can see that everybody has the name that they want to use. So you can go by your first name, you can go by your last name, but it keeps it really clean so you're not getting spelling errors. You're not getting someone who's going by their first name one day and their last name another day. And the date field cataloger is also a single select. There are lots of options for different types of fields that you can have and I don't have time to go into all of them, but there's some really cool stuff in there. So, another thing that makes this a lot better than a Google sheet or an Excel sheet is that you can see here that it says grid view.  Grid view is your default view. So if I send somebody the space to enter an information, this is the view that they see. And it again, super simple what information they need to put in. It's pretty straightforward. So you can create your own views. So you can see that they're collaborative views, which means like people can go in and put in filters and groupings different sorted different ways. So people have created their own there. You can see I have mine here. And I have mine sorted by hidden field. It's hidden in the grid view. So I only want to see it. Other people don't want to see it, but it's a every time a new row is created. It automatically enters a created field. So I like to sort by this. And then you can see that I have other fields that I care about that other people don't really care about, which is the fiscal year that it was staged the fiscal year that the metadata was created and what digitization project it links to. We also have an upload form, which is kind of like a jura ticket, but a little bit simplified. So it's just if we have someone like a faculty member who is doing a project and we want them to create their own metadata. Or they are uploading themselves into our dams, then they can fill this out. I can send this to them and see what it looks like. I can send this to them and they can enter in all that information and it will create a new row in our tracking sheet. Then we have personal views. So you can see Deb is my director. So I'll look into her view. And you can see that I don't have power. I can't go in and hide fields, filter groups or change colors. I can't move these fields around. They're locked in. So I can't go in and mess up her stuff. This is how she wants to view our metadata tracking base. And she's got a group. So she's grouping all the rows and entries by collection. So she can easily see, oh, advocate has, I don't know why it's not showing me, but it has like, oh, here are some. So it has like 20,594 in Anas. And we've only been doing this since 2016. So these numbers might look kind of weird, but it's because that's when we started tracking. So that's pretty cool. And then I have my own personal views here. You can see my little possum icon. So digitization tracking.  So it's only showing me the rows for uploader is any of the digital images. And the digitization project is empty. So this is telling me that this someone uploaded who was a digital imager. So it was digitized by us. And I haven't assigned it to a project yet. So I can go in and say, okay, I know who did it. I know who uploaded it. And I know what collection is part of. So I know that it's part of our curricular expansion project. And if there were any rows in here, I know that it's like a to do for me. And then metadata tracking is sort of a similar idea where I have a filter set up where it's date cataloging completed is not empty. So that means the metadata person has gone in and said, okay, I've created metadata for this batch upload. And the meta data fiscal year, which is field I'm responsible for is empty. So I can look at these see that the data was completed and know that this is all metadata was created fiscal year 24. So I'll just go in and assign that tag to them and I'll show you why that's important in just a second. Okay, so all my two views are done. So I can go back to my grid view and go over to the collections table. So these are all of our collections. Our abbreviation full name batches that are part of this collection. And then how it does a file count of how many files have been uploaded. This is really helpful because the digital imagers sometimes will come in and say, okay, we got a patron request for Asian maps collection. What is the abbreviation that I want to use in the file name and it's all right here. You can see that some are empty, which just means it was added to the digital like last time was added to the digital library was prior to 2016. So it's actually empty. It's just empty because we haven't been tracking that far back. So this is pretty cool because this is links to another record. So this batches is linking to this grid view that I was just showing. And so this is saying these batches are part of this collection.  This is saying I'm counting the batches. I'm counting those fields in that grid view that I was showing you before. I'm counting the number of files and it's just doing a very simple sum of values. So I can see how many files for each collection have been uploaded. I can change my view to backlog. So how do we track your backlog? This is really, really helpful. So this is just a different view. You can see like different views have different things hidden depending on what I'm trying to look at. So I can see my files uploaded and then I can see my files catalog. So this is a roll up of my batches. So what has been entered into that Cortex upload catalog table and it's counting the number of files, but only the number of files where the date catalog completed is not empty. So that means someone has gone in and said this is the day that I completed the metadata. So if it's not empty, that means the metadata has been completed and it's just doing. Oopsie, I just turned it off. I'll have to redo that sum of values. Okay, so then this is a percent catalog. So this is a formula field where it's just showing me what percentage has been completed. Green is good, red is bad, gray is even worse. So it hasn't even started yet. And then I can see the count of just another formula field of count of how many files are currently in the backlog. And this is this is another table and this is pretty simple. It's using those tags that I was putting into for the digitization and it's saying what project and how much has been digitized per fiscal year. So I can see how this project we did a little bit in fiscal year 22 we dropped it fiscal year 23 and then we did a lot this fiscal year 24. So I can just sort of track our digitization numbers here. I want to show you really quickly. Another way that I use this another cool feature of air table is that it lets you create these interfaces so it's taking the data that I want from our base. And it's putting it all into something that I can show my associate dean to show him that like, hey we have a real problem here in the digital library and we need. We need another metadata specialist because our backlog is like big. So this is showing him it showing him that really high top level. Beautiful pastel colors. It makes it make sense without showing him a huge spreadsheet. So this is the file staged this fiscal year. These are how many files we put into our dams. This is metadata records created this fiscal year. Like. File stage versus metadata. Yeah. Files cataloged all time files currently in backlog so. Yeah we need a metadata specialist we don't need any more contract, you know grant funded positions we need a real full time metadata specialist. And then you have that sort of same information in a little pie chart. Here metadata created by fiscal year here. And then you can see our percentage complete for different collections. Here, so it's just taking that information and making it kind of like. Pretty so he can see it. And understand it really simply on just like a very high level. I also want to show really quickly I don't know how much time I have. We also use we have many different uses for air table. That was just our metadata, which is one of our most simple bases. We also use it for tracking digitization requests. So we have tickets for the digitization request. So there's like that. Something like this, but it's just for creating a patron request for something to come into the lab to be digitized. And so special collections will create those and send over materials. And so this is my interface that's just a high level view of patron requests and digitization requests. So I can get a very quick idea of like what's going on in the lab. We have four tickets that haven't started yet we have nine tickets in progress and we've completed 256. And then I can see like where each project is. And then I can go into individual tickets if I want to say, OK, we're waiting on patronage for these. This is the collection. This is the number of materials, some notes from the lab and just like basic information like that. So it's nice because I'm a visual person and it's just giving me the information I need in a very like easy to understand way. So yeah, that's our table. I had a lot of help setting up my first base. But if you know Google sheets, if you know Excel, it really helps and it's pretty easy and it's really good. I think for collaboration because there's you can see the only the information that you want to see. That's it. Thank you, Louise. That was great. So we do have some time for questions now. So let's go ahead and stop recording, please.


So we got to stand up for capitalism. We got to stand up for individualism. We got to stand up for choice for values for making decisions for ourselves For focusing, you know, one of the things that has come through Really clear in this crisis is that our leaders don't think There is an unthinking Across the board They don't consider alternatives. They don't weigh they don't think probabilistically. They don't accumulate evidence They don't seek data They seek experts to tell them what to think to tell them what to do We live in a culture that's unthinking the anti-enlightenment culture and a culture that's rejected reason that's rejected thinking and that adores politicians doors politicians politicians who know nothing Who are experts at nothing? Who can't even get the resources together of experts to solve a problem? All they're interested in is being right and being re-elected, appeasing their voters, appeasing whoever Unthinking is the way I would categorize how leaders have responded to this crisis And there are few healthcare professionals out there like Amesh Adulja and a few others who read I've read They're up heads and watching watching a post in New York Times that have said everything that I just said Let us cocoon the old In other words separate the old from everybody else Don't shut down the economy. Don't keep everybody home cocoon the elderly test test test Identify people the virus isolate them So it's a lot of work a lot of planning a lot of logistics a lot of thought But scientists back this and the only real reason I think a lot of scientists today are so focused on shutting everything down is because They don't believe there's any other alternative given the politics not because they believe this is the best solution I mean one of the things I've heard is that a lot of them afraid to speak up A lot of them afraid to speak up against trump or to speak up against komo or to speak up against The authorities that are shutting us down Fauci is is Not a model for this at all He's conventional And you don't I don't get a sense that he knows more than anybody else Or that he's thinking more than anybody else He's within the administration somebody who's at least honest enough to take it like it is But I don't see any solutions any alternatives any interesting things I would take a mesh a million times over Fauci any day and I think that number of scientists Who have been interviewed about this That are far more knowledgeable and understanding than he is And he's in politics. So maybe he's super knowledgeable and super knows everything But he's in politics. So he has to stay quiet. He has to follow Yeah, I on certain things he could contradict trump, but don't go too far because you'll lose your job The cdc There's plenty of evidence to suggest that the cdc did not wanted to do things very differently early on And it basically trumped silence them and shut them down To prevent them from doing the things that needed to be done Yes, I love to yell. What can I do? It's I tried before not to yell and it came right back because some of you guys are making me angry I mean This is not rocket science But if you're a collectivist and you don't want to think for yourself and you want to just buy into the rhetoric that's out there This is what happens and let me tell you You should be enraged You should be enraged By what has transpired in this country over the last three months Not sit at home and twiddle your thumbs You should be fighting this you should be writing you should be speaking you should be engaged in activism in every way that you can You should be outraged You know, we're gonna get to the point where the individual rights of 300 million people are constrained not a little bit Not by a little bit regulation here or there, but where we're kept at home Because our politicians are cowards And are non thinkers anti thinkers Anyway, what we need today what I call the new intellectual would be any man or woman who is willing to think Meaning any man or woman who knows that man's life must be guided by reason By the intellect not by feelings wishes wins or mystic revelations Any man or woman who values his life and who does not Want to give in to today's cult of despair cynicism and impotence And does not intend to give up the world to the dark ages and to the role of the collectivist roads Using the super chat and I noticed yesterday when I appealed For support for the show. Many of you step forward and actually Supported the show for the first time. So I'll do it again. Maybe we'll get some more today If you like what you're hearing if you appreciate what I'm doing Then I appreciate your support Those of you who don't yet support the show, please take this opportunity. Go to your own book show dot com slash support or go to subscribe star dot com your own book show And and and make a kind of a monthly contribution to keep this to keep this going. I'm not sure when the next


friends, myself Deshmukh Sachin working as assistant professor in civil engineering department of waltz and stoke technologies to lappour. Today we are going to study of Bernoulli's theorem or we can say it is a Bernoulli's equation or Bernoulli's principle. At the end of this particular topic we are able to calculate total energy at a particular section and also we can calculate the loss of head of water when it is passing from one section to another section. Daniel Bernoulli, he was a Swiss scientist born in 70s and who has done lot of work in fluid mechanics, he is pioneer of many of the equations, he is pioneer of we can say many tedious works in the fluid mechanics and has simplified it and given a very simpler equations in the fluid mechanics. Before to start or before to go for this Bernoulli's theorem, we must know what are the different energies possessed, potential energy, kinetic energy and pressure energy. These are the three important energies on which this Bernoulli's theorem, Bernoulli's equation is dependent, potential energy it is a type of energy due to the property of its state that is where it is laying. If a pipeline is there you have to see from ground level if you are taking into account what is the height of that particular pipeline, what is the height of that particular flow conditions and that you have to take into account. Particularly we are taking z small z as a potential energy from the ground line or the datum line that is its energy, kinetic energy it is with respect to its motion and it is calculated by the velocity head you can say it is v square upon 2 g v square upon 2 g and pressure energy this is due to the pressure of the liquid and it cone as a p by w where p is the pressure and w is the specific weight of the water. When you are keeping the tubes pressure tubes or you can say Bernoulli's tubes on a pipeline you can find the rise of pressure if you can keep on the pipeline you can observe the water level is rising just focus on this focus on this here this is a pipeline here glass tubes are attached and the water level is rising water level is rising over here due to pressure see here different diameters are there different diameters are there water level is rising this is a p by w pressure upon specific weight specific weight. So the equation states that the total head of liquid in motion is the sum of its potential head kinetic head and pressure head. So if you are going to calculate in head it is z potential energy v square upon 2 g kinetic energy and p by w it is a pressure energy in meters head is going to calculate in meters if you are going to calculate in energy e that is a total energy z plus v square upon 2 g plus p by w but the unit is Newton meter per kg of water keep in mind. The Bernoulli's theorem which is also known as Bernoulli's principle states that the sum of all the energies are same from section any section if you are taking section 1 1 to section 2 2 provided that the flow is steady irrotational and frictionless and definitely the fluid is incompressible let us go through this. Now here you can observe the frictional loss friction loss this is a topmost side topmost level and this is the when it is travelling from this point to this point there are some losses occurred this is a friction loss. Now this is the derivation for Bernoulli's theorem consider an ideal incompressible liquid through a non uniform pipe as shown in the figure let us consider two sections let us consider two sections LL and MM then this is transferred to this one this is P1 this is P2 V1 is the velocity of liquid at LL Z1 is height of LL above atom A1 is area of pipe at that upper section similarly all these all these P2 V2 Z2 and A2 corresponding values at the bottom level this bottom level okay Z1 and Z2 these are the potential energies of the sections Z1 and Z2 these are the potential energies of the section this is DL1 this is DL2 and by the continuity of equation that we know Q is equal to A1 V1 is equal to A2 V2 that discharge is not going to change okay by starting with derivation you have to find out this weight weight of the liquid within work done which is equal to force into distance or displacement similarly calculate the work done total work done then loss of potential energy first calculate the work done like this step by step then loss of potential energy then what is a kinetic energy gain in the kinetic energy that you have to calculate and also loss of potential energy plus work done by the pressure which is a gain in kinetic energy put this this equation equal to the previous one simplified all these are the energies simplified you will get P1 by W plus V1 square upon 2g plus Z1 is equal to P2 by W plus V2 square upon 2g plus Z2 P1 by W it is the pressure energy at section 11 or LL V1 square upon 2g it is a kinetic head or kinetic energy or velocity here you can say at section 11 Z1 it is a static energy or you can say potential energy at one similarly the pressure energy plus kinetic energy plus the static energy at section 2 this is a Bernoulli's equation but it is observed that this equation this particular total energy is not equal to this one there are some losses occurred therefore again Bernoulli has done many experiments and he modified this equation he modified this equation that we are going to study in the next topic this modified equation states that this P1 upon W plus V1 square upon 2g plus Z1 is equal to P2 upon W plus V2 square upon 2g plus Z2 plus losses these losses are again of two types these losses are of two types that is major loss and minor loss major loss is by friction and minor loss there are many that is by change in the direction change in the diameter elbow right angle shape like this pause the video and give the answer of this Bernoulli equation is applicable only for irrotational flow viscous flow in viscid incompressible flow and compressible flow the answer is C in viscid incompressible flow because we are assuming there is a less viscosity or zero viscosity water is incompressible and it is in the static condition velocity is also not there static condition okay. So Bernoulli's equation is applicable only for in viscid and incompressible flow this is the answer now most important this Bernoulli's equation where we are going to use we are going to use or applying in this venturi meter here we are taking section 1 1 okay and section 2 2 is a pipe diameter and this is a throat diameter and here we can apply the equation z1 z1 plus p1 upon w plus v1 square upon 2g is equal to z2 plus p2 upon w plus v2 square upon 2g second one is orifice meter it is orifice plate here you can observe here you can apply here you can apply the Bernoulli's equation what is the orifice meter it is a tool or it is instrument to measure the discharge and which is kept at the bottom or which is kept at the side of the tank third one is rotameter okay see the flow it is a float see the flow over here you can apply the Bernoulli's here here and fourth one which is most important pitot tube here you can apply the Bernoulli's equation section 1 and section 2 the pitot tubes here water level rises over here this is a flowing in this so these are the four important applications these are the reference books go through it thank you


It's really a pleasure to be here on this very very special day, the first public day at the new Berkeley Art Museum and Pacific Film Archive. We open the doors to the people of the city of Berkeley and the entire region and the world. There just isn't a better location on earth for a museum of art and film. This is really a momentous occasion for the University of California at Berkeley. This museum is built in to the very DNA of what we are as an institution. This is a place where looking and making and feeling matter. To be part of a community, we have to really encourage the arts and encourage creativity and encourage people to come together to look at what the possibilities are. The Berkeley Art Museum, the Pacific Film Archive. A new era for the arts in Berkeley.