[User] Please transcribe this text

[Assistant] You know what it's all about. I still don't know what the best book is to read when you first want to get into Nietzsche, because different sources say different things, but if I'm correct, most people recommend to start with Beyond Good and Evil, so.


[User] Please transcribe this text

[Assistant] Parts of his philosophy are in which books? On Wikipedia it says in Beyond Good and Evil Nietzsche accuses past philosophers of lacking critical sense.


[User] Please transcribe this text

[Assistant] Yeah, so this one is mostly focused on morality and epics and, I mean, as the title suggests, beyond good and evil, about this idea that we should move beyond the idea that some things are good and some things are evil. And I'm sure that he will explain in his book how we should move beyond that and then what that is that exists beyond that.


[User] Please transcribe this text

[Assistant] Interesting. I wanna read it. Then another book that I really wanna get to soon is A Room in One Zone by Virginia Woolf. This is the non- I mean Virginia Woolf is known for her fiction, her literature, like I've read


[User] Please transcribe this text

[Assistant] Uh, Miss Dalloway and To the Lighthouse, but she's also written a very famous essay thing called A Room of One's Own.


[User] Please transcribe this text

[Assistant] Which is like a feminist story, a feminist essay where she kind of talks about this idea that women need a room of their own, without any men in it, in order to fully come to fruition and actually be able to write things that are completely for themselves, about themselves, and about women.


[User] Please transcribe this text

[Assistant] Without being influenced by the men in their lives, and usually because a lot of women don't have that space for themselves, they don't have a room of their own. I mean, you know, back in the day when this was written, when women were just like the housekeepers taking care of the children, taking care of their husband.


[User] Please transcribe this text

[Assistant] We love feminism here. Talking about feminism, another book that I really want to read is Sister Outsider by Audre Lorde.


[User] Please transcribe this text

[Assistant] Another very influential feminist text. You may know Audre Lorde from, or at least that's what I know her from, from the saying the master's tools will never dismantle the master's house.


[User] Please transcribe this text

[Assistant] Which I think is also the name of one of the essays in Sister Outsider. That in order to, like, break down oppressive systems, you have to work.


[User] Please transcribe this text

[Assistant] Then some fiction, philosophy things. I really wanna read The Plague by Albert Camus. I've read The Myth of Sisyphus and The Outsider, which I think are his most well known books. But I also wanna read The Plague, especially now that we have gone through a pandemic, I think reading a book


[User] Please transcribe this text

[Assistant] That kind of is about, like, the philosophical, philosophical, phla, phla, blah, blah, blah. Especially, uh, reading a book that kind of is about the philosophical impact of the idea that there's a new plague happening and what that does to people, I think would be very interesting to read about in this time of the earth.


[User] Please transcribe this text

[Assistant] American moves, also one of those philosophers, is kind of known for like the existentialism, so. Kind of, in a way, I guess, uh, fitting the vine that I showed at the beginning of the video, you know?


[User] Please transcribe this text

[Assistant] Whatcha gonna do about it? You're gonna die. Whatcha gonna do about it? You can't do anything about it. Better just enjoy your life. That's a really reductive way of, uh, explaining his philosophy, but that's kinda the gist. To combat the sweet, sweet existential dread. And then, the last book!


[User] Please transcribe this text

[Assistant] Often, it's just a little difficult to get through because it just has that very different from modern day of writing.


[User] Please transcribe this text

[Assistant] Writing style, and it's pretty dense, it's very long, but it is like a- an interesting story about a man who kills someone, kind of out of necessity.


[User] Please transcribe this text

[Assistant] And then, for most of the book, just deals with the consequences, not necessarily like the external consequences, but the internal consequences, and like the psychological consequences.


[User] Please transcribe this text

[Assistant] Of having to deal with the fact that he just killed someone. It's very focused on like the psychology of the character and like the morality of everything, the ethics. Interesting, good stuff. I really want to read it and get through it someday because I know that I will enjoy that. It's just that I haven't really found


[User] Please transcribe this text

[Assistant] The good moment for me to really dive into it, and I've tried multiple times, but every single time it just wasn't the right moment, so.


[User] Please transcribe this text

[Assistant] Then moving on to the last little subsection, and that is fantasy sci-fi classics that I really want to read. Starting off with, of course, The Lord of the Rings. I have not read a single Tolkien book in my life. I know.


[User] Please transcribe this text

[Assistant] Fake fantasy fan right here. Even though I really love fantasy, I will admit that the kind of Tolkien-esque fantasy with elves and dwarves and this kind of medieval European fantasy setting has never been my favorite, and I don't tend to read books


[User] Please transcribe this text

[Assistant] That are clear- you know like a lot of epic fantasy books are clearly taken inspiration from Tolkien?


[User] Please transcribe this text

[Assistant] As they should, you know, it was a good thing to be taking inspiration from, but those usually aren't the epic fantasy books that I like to read, so because of that I've also never really had the urge to be like, ooh, I wanna read


[User] Please transcribe this text

[Assistant] The book that these are all inspired by, because I don't tend to enjoy books like that, but I do think I will, despite that, enjoy The Lord of the Rings because it's just...


[User] Please transcribe this text

[Assistant] I don't know if it's gonna happen anytime soon, but at one point in my life, I of course want to be reading.


[User] Please transcribe this text

[Assistant] Definitely don't read any kind of humorous books, ever, but I've recently come to the conclusion that some of my favorite pieces of media are the kind of TV shows or movies that combine genre


[User] Please transcribe this text

[Assistant] With comedy, for example, I love how Scream Queens combines comedy with horror or Knives Out that combines the typical detective with some humor in it. So I think I might actually really enjoy this type of book that just combines, like,


[User] Please transcribe this text

[Assistant] Classic sci-fi with comedy. So I wanna, I wanna get around to reading this. Again, one of those books that I don't think I will get to anytime soon, but one day in my life.


[User] Please transcribe this text

[Assistant] I might read it. Also, another thing that I've been noticing in my coding classes is that oftentimes when you look up codes like on the internet to see what other people have done and when people need to choose a random number, oftentimes these people choose 42.


[User] Please transcribe this text

[Assistant] Any magical realism, I think? But it feels like something I would really enjoy. So magical realism, it's different from fantasy or supernatural things. It's where...


[User] Please transcribe this text

[Assistant] Mysterious magical things happen, but it's not seen as like something that shouldn't be there. You know, in like a supernatural book, magical things happen and the characters are like, oh my god, that's magic, woah.


[User] Please transcribe this text

[Assistant] In magical realism, it's just part of the reality, and it's not really questioned, and it's just a little surrealist. It's usually there to add to the theme and the analogies used in the book, it's there to add to the emotion.


[User] Please transcribe this text

[Assistant] I'm more interested in her sci-fi stuff, because she writes a lot of very speculative sci-fi.


[User] Please transcribe this text

[Assistant] Like, kind of like dystopian, speculative, st-alien, meh, very good description there. That really like, takes an idea.


[User] Please transcribe this text

[Assistant] That is then fully explored, basically using the formula of going to another planet and exploring that planet and how the people live there.


[User] Please transcribe this text

[Assistant] And the society is organized in a kind of anarchist way. It's a very peaceful society where everything is just communally owned and there are no authorities or hierarchical structures.


[User] Please transcribe this text

[Assistant] So, I'm really interested in that. And then the other book by her that I really want to read is The Left Hand of Darkness. This one is about someone going to a planet where the people can choose and change their gender.


[User] Please transcribe this text

[Assistant] I'll just, I feel like I've been talking for hours, so I won't dwell on them for too long. These are just books that I think everyone should have read. The first one is kind of an open door, but they are


[User] Please transcribe this text

[Assistant] Classic dystopians like 1984 and Brave New World.


[User] Please transcribe this text

[Assistant] It's actually a very fun read, it's pretty, like, action-packed, weirdly. Uhm, and then my favorite one, Breathing World, if you wanna read about, like, I think, the most accurate one to our current society, about the influence of, like, excessive hedonism.


[User] Please transcribe this text

[Assistant] And hierarchies and constant craving for dopamine and fun. I think dystopians are the kind of books that everyone should read. Especially if you got into reading because of YA dystopians, I think you're gonna love these kind of books. It's just interesting to read books that kind of.


[User] Please transcribe this text

[Assistant] If you wanna start with something philosophy, I recommend the myth of Sisyphus. You know how this video is about death?


[User] Please transcribe this text

[Assistant] So is this book. Like I explained earlier, Albert Camus is known for his philosophy of absurdism, which in very reductive terms is just about the idea that there is no meaning to life, and it's


[User] Please transcribe this text

[Assistant] Quite some philosophical jargon. Not too much, but still, if you've never read a philosophy book, it's good to kind of read in on it. Then, a few nonfiction books that I think everyone should read. I've mentioned them before, so I'll go over them quickly.


[User] Please transcribe this text

[Assistant] Sapiens, if you want to understand society and look at the world a little bit differently and kind of get a bird's eye view of the history of humanity so you can kind of look at it in perspective.


[User] Please transcribe this text

[Assistant] I think everyone should read this. And the other one that I recommend is Man's Search for Meaning by Viktor E. Frenkel. This is about World War II and about Viktor E. Frenkel's experience in a concentration camp and how he came up with his philosophy and also his psychological methodology based on how he found meaning.


[User] Please transcribe this text

[Assistant] In these extremely dire situations. On the one hand, really good for everyone to read to kind of get like a closer look of really how...


[User] Please transcribe this text

[Assistant] Bad it was in the second world war, and secondly, because it gives a lot of interesting insights on how to look at life. Then, if you're a fantasy fan, like me, I would recommend you read at least once in your lifetime.


[User] Please transcribe this text

[Assistant] A bunch of classic fairy tales. For example, here I have a few by Hans Christian Andersen, but there are many, many fairy tales, like the Grimm fairy tales, or any kind of folklore from different cultures. It's so much fun to read, especially if it kind of coincides with the kind of stories that you grew up with learning about.


[User] Please transcribe this text

[Assistant] It's so fun to read like the original stories. So it's like nostalgic in one way and at the same time.


[User] Please transcribe this text

[Assistant] How many other books and movies and stuff


[User] Please transcribe this text

[Assistant] Kind of like for the same reason a lot of people read Lord of the Rings, I think you should also read Dune.


[User] Please transcribe this text

[Assistant] That's actually pretty good pun. It's not a bucket list, it's a bucket list. These are the books that are my bucket list and that I recommend other people should put on their bucket list. Let me know if there are any books that you really want to read before you


[User] Please transcribe this text

[Assistant] Crawl into the earth. I hope I will read the books on this list soon, so I can talk about what I actually think about them. But until then,


[User] Please transcribe this text

[Assistant] We're just gonna be talking about any book that we like on this channel. I really hope you enjoyed this video. Let's talk to each other in the comments, and I will see you soon in another video. Goodbye!


[User] Please transcribe this text

[Assistant] Suppose smooth, smooth. Spare, spare.


[User] Please transcribe this text

[Assistant] In that case War Stick Stuck


[User] Please transcribe this text

[Assistant] stick, stuck, stuck stick to, stick to down, down dialogue, dialogue ending, ending documentary, documentary drama, drama


[User] Please transcribe this text

[Assistant] plenty, plenty, plenty of, plenty of shut, shut, shut, shut, shut, shut, shut off, shut off, superhero, superhero, once in a while,


[User] Please transcribe this text

[Assistant] Once in a while Intelligent Sense Sadness Pain Reflect Moving Perform


[User] Please transcribe this text

[Assistant] perform lifetime lifetime pity pity total total in total in total master master praise praise recall recall wound


[User] Please transcribe this text

[Assistant] Wound. Painful.


[User] Please transcribe this text

[Assistant] Men in black. Kung Fu Panda. Kung Fu Panda. Titanic. Titanic. March of the Penguins. March of the Penguins. Spider-Man. Spider-Man. Carmen. Carmen.


[User] Please transcribe this text

[Assistant] So, one more day. Getting nervous? Nah, I'm okay. Yeah? Listen, whatever happens, you've done a fantastic job, Chris. I mean that. Take care of yourself.


[User] Please transcribe this text

[Assistant] Welcome back. Today we're gonna talk about algorithms and data structures for implementing some fundamental data types called bags, queues, and stacks. You may be somewhat familiar with these, but today we're gonna take a careful and close look at them.


[User] Please transcribe this text

[Assistant] The idea is that in many applications we have collections of objects that we want to maintain. And the operations are very simple. We want to add something to the collection, maybe remove something from the collection, uh, and iterate through the objects in the collection performing some operation on them. And of course test if it's empty.


[User] Please transcribe this text

[Assistant] Now for most of these, the intent is very clear. The key is when it comes to removing an item, which item do we remove?


[User] Please transcribe this text

[Assistant] Fundamental classic data structures for this, uh, the stack and the queue differ in the way in which the item to be removed is chosen. For the stack, we take out the item that was most recently added.


[User] Please transcribe this text

[Assistant] Uh, for the terminology that we use is push to insert an item and pop to remove the item most recently added. That's also called the LIFO discipline, last in first out.


[User] Please transcribe this text

[Assistant] For Q, we examine the item least recently added. Uh, in those operations, uh, to distinguish them, we call NQ, uh, to insert an item, and DQ to remove an item. And that's also called the FIFO discipline, first in, first out. So now we're gonna take a look today at how to, uh, implement these things.


[User] Please transcribe this text

[Assistant] Uh, our subtext today is all about modular programming. Uh, and that's gonna be a discipline that we're gonna follow carefully throughout this course. The idea is to completely separate the interface and the implementation.


[User] Please transcribe this text

[Assistant] So when we have, uh, these types of data structures and, uh, data types that are, uh, precisely defined, like stacks and queues and so forth, what we want to do is completely separate the details of the implementation from the client.


[User] Please transcribe this text

[Assistant] The client has, can have many different implementations from which to choose, but the client code should only perform the basic operations.


[User] Please transcribe this text

[Assistant] The implementation, on the other hand, can't know the details of the client needs. All it's supposed to do is implement those operations. In that way, many clients can reuse the same implementation.


[User] Please transcribe this text

[Assistant] So this allows us to create modular reusable libraries of algorithms and data structures that we can use to build more complicated algorithms and data structures.


[User] Please transcribe this text

[Assistant] It also allows us to focus on performance, uh, when appropriate. Again, this is a modular programming style that's enabled by, uh, object-oriented programming languages such as Java, and we'll be very disciplined, uh, in our use of this style.


[User] Please transcribe this text

[Assistant] Alright, so to begin, we'll talk about stacks.


[User] Please transcribe this text

[Assistant] Stacks are familiar, many of you probably implemented stacks in an introductory programming course, but we'll do a thorough introduction to implementations right now.


[User] Please transcribe this text

[Assistant] As a warm-up, let's suppose that we have


[User] Please transcribe this text

[Assistant] Uh, string, a collection of strings, uh, and they might be short, they might be long, and what we want to have is the ability to save away, uh, a collection of strings and, uh, remove and return the most recently added string, uh, periodically, and also test if it's empty.


[User] Please transcribe this text

[Assistant] Uh, so that's our API. Uh, we have a constructor to create an empty stack. Uh, we have for insert, we have a method called push that takes a string as argument.


[User] Please transcribe this text

[Assistant] Uh, and for remove, we have a method pop that returns the string most recently added. Uh, and we have an isEmpty test which returns a Boolean. Uh, also in some applications, uh, we would include the size as well.


[User] Please transcribe this text

[Assistant] Uh, to take some strings on standard input, uh, and some pop commands, uh, which are indicated with hyphens.


[User] Please transcribe this text

[Assistant] And so, uh, it'll, uh, this client reads strings from standard input. Uh, if the string is equal to the hyphen character, uh, it'll pop the string at the top of the stack and print it.


[User] Please transcribe this text

[Assistant] Otherwise, if it's a string that's not equal to the hyphen character, it'll just push it onto the stack.


[User] Please transcribe this text

[Assistant] Uh, then, uh, what will, what the client will do is push 2B or not 2 all on the stack.


[User] Please transcribe this text

[Assistant] Then when it comes to this hyphen, it'll pop the most recently inserted item, which is 2 in this case. Then it'll put B on the top of the stack, and then pop, uh, the top item on the stack, which is now B, and then pop the item most recently added, B's gone, 2's gone, so the next is not, and so forth.


[User] Please transcribe this text

[Assistant] So this is a simple test client that we can use to test our implementations.


[User] Please transcribe this text

[Assistant] The first implementation that we'll look at uses linked lists. If you're not familiar with linked lists, you'll need to review that in section 1.1 through 1.3 of the book or in our Introduction to Programming in Java book.


[User] Please transcribe this text

[Assistant] Uh, even if you are familiar with linked lists, it's worth taking a look at this code because it's the style of coding that we'll use throughout the course for much more complicated data structures.


[User] Please transcribe this text

[Assistant] Uh, and to, uh, implement a stack, uh, when we do a push operation, we insert a new node at the beginning of the linked list, and we do a pop operation, we remove the first node from the, uh, beginning of the linked list. That's the most recently added item. So let's look at what that code looks like.


[User] Please transcribe this text

[Assistant] Uh, we use to implement linked lists, uh, in all linked data structures throughout the course, we use what's called an inner class in Java. And that's just a way to describe that, uh, we're gonna be manipulating node objects that consists, each consists of a string, uh, and a reference to another node.


[User] Please transcribe this text

[Assistant] Uh, and then the last thing we need to do is just, uh, return the item that we saved away.


[User] Please transcribe this text

[Assistant] Okay, so that's the pop operation, what about the push operation?


[User] Please transcribe this text

[Assistant] Push operation, we want to add a new node at the beginning of the linked list. So first thing we do is save away, uh, the pointer to the beginning of the list.


[User] Please transcribe this text

[Assistant] Uh, that's the old first equals first. Uh, then we create a new node that's gonna be the new node that we put at the beginning of the list. Uh, that's first equals new node.


[User] Please transcribe this text

[Assistant] And then we set its instance variables. Its item is the string that we want to put at the beginning of the list, in this case not. And its next is the old first item of the list, which is now the second item of the list.


[User] Please transcribe this text

[Assistant] So after this operation, we have first pointing to the beginning of the list and we have the items on the list in decreasing order of when they were put onto the stack.


[User] Please transcribe this text

[Assistant] So this is a complete link list implementation of all the code to implement a link list for a stack of strings in Java.


[User] Please transcribe this text

[Assistant] Uh, it's a, it's a class, uh, the constructor, uh, doesn't have to do anything, there's no constructor. Uh, we have this inner class, uh, that we use, uh, to build the items in the linked lists, uh, and we make it an inner class so we can directly refer to, uh, those, uh, instance variables.


[User] Please transcribe this text

[Assistant] And then the only instance variable of a stack is a reference to the first node on the list. And it starts out being null.


[User] Please transcribe this text

[Assistant] Then, uh, is empty is just, uh, testing whether the, uh, first note on the list is null.


[User] Please transcribe this text

[Assistant] Uh, and then, uh, push is, uh, the four lines of code, uh, that I gave, uh, on the previous slide, and pop is the three lines of code that I gave on the slide before that. Uh, that's a complete implementation for linked lists, uh, that'll, uh, work with, as a fine push-down stack implementation, uh, for any client.


[User] Please transcribe this text

[Assistant] So now we can, uh, analyze the performance of that so that we can provide clients with information on how well, uh, the,


[User] Please transcribe this text

[Assistant] In this case it's easy to see that every operation takes constant time in the worst case. There's only a few instructions for each one of the operations. There's no loops.


[User] Please transcribe this text

[Assistant] So that's obviously a very desirable characteristic.


[User] Please transcribe this text

[Assistant] Then how about space usage? Well, that depends very much on the implementation in the machine, so this is a typical Java implementation that we do the analysis for and can test this out for different types of environments easily.


[User] Please transcribe this text

[Assistant] Uh, in this representative. So in Java, uh, in inner class, uh, there's, for every object, uh, there's 16 bytes of overhead. Uh, there's some extra overhead, 8 bytes, because it's an inner class.


[User] Please transcribe this text

[Assistant] So we have 40 bytes per stack node. If we have a stack of size n, we have about 40 n bytes. There's a little extra for first, but that's about an overhead for the whole stack. But when n is large, 40 n is a very close estimate to the amount of space needed.


[User] Please transcribe this text

[Assistant] Uh, this does not include the space for the strings themselves, uh, which are owned by the client. Uh, but with that we can, uh, properly assess, uh, the resource usage of this implementation for different client programs.


[User] Please transcribe this text

[Assistant] Now, uh, it's constant time, but there's faster implementations of stack, and since stack is used in the inner loop of some, uh, algorithms, uh, it's important to think about, uh, even faster implementations.


[User] Please transcribe this text

[Assistant] And another natural way to implement a stack is to use an array to store the items on a stack. So let's take a look at that.


[User] Please transcribe this text

[Assistant] Uh, this, uh, alternative of choosing between link structures and arrays is fundamental, and it's gonna come up again and again when we consider more complicated, uh, data structures and algorithms.


[User] Please transcribe this text

[Assistant] So, uh, we want to be sure to analyze it, uh, in this simple case, uh, for stacks, uh, to set the stage for more complicated applications later on.


[User] Please transcribe this text

[Assistant] Uh, now there's a fundamental defect in using an array and that is that, uh, you have to


[User] Please transcribe this text

[Assistant] Declare the size of the array ahead of time and so the stack has a certain capacity.


[User] Please transcribe this text

[Assistant] Uh, and if there's more items on the stack than the capacity, we have to deal with that problem. And that's a fundamental problem that we have to deal with in array implementations in all sorts of.


[User] Please transcribe this text

[Assistant] Alright, so here's the, uh, full implementation of stack, uh, for, uh, using an array to represent the stack.


[User] Please transcribe this text

[Assistant] So now we have an instance variable which is an array of strings and our variable n, which is both the size of the stack and the index of the next position, next open position on the stack.


[User] Please transcribe this text

[Assistant] This one has a constructor, uh, and the constructor creates the array. Now, we're cheating in this implementation to keep it simple, and we'll take care of this cheat in a little while by requiring the client to provide the capacity of the stack.


[User] Please transcribe this text

[Assistant] In a few applications, uh, this might be fine, but in many, many applications, uh, that's too onerous a requirement. The client really can't know how big the stack is. Client might have a lot of stacks, uh, that need to be maintained simultaneously, and they, maybe they reach their maximum capacities at different times.


[User] Please transcribe this text

[Assistant] And various other things. So we need to remove this cheat, and we will.


[User] Please transcribe this text

[Assistant] But the code is nearly trivial if we have the capacity to check if it's empty. We check if n is zero. To push an item, we use n to index into the array, put the item there, and then increment n. That's the, uh,


[User] Please transcribe this text

[Assistant] Shortcut in many programming languages nowadays for use the index and then increment it.


[User] Please transcribe this text

[Assistant] Uh, and to pop, we decrement the index and then use it, uh, to return the item in the array. So each of the operations is, uh, a one-liner. Uh, and this is a fine implementation, uh, for some clients. That's array implementations of stack, but it breaks the API by requiring the client to provide the capacity.


[User] Please transcribe this text

[Assistant] So what are we going to do about that? Well, there are a couple of things that we didn't consider. We didn't put in code to throw an exception if the client pops from an empty stack. Probably should do that.


[User] Please transcribe this text

[Assistant] Uh, and for overflow, what happens when the client does too much? Well, we're gonna talk about an approach called resizing, uh, that will, uh, allow us to, uh, avoid overflow for clients.


[User] Please transcribe this text

[Assistant] Uh, but we do have to worry about, uh, in Java about a problem called loitering. Uh, and that is the idea that, uh, we have references to an object in our array implementation in the stack array when we're not really using it.


[User] Please transcribe this text

[Assistant] Removed item entry to null, so there's no reference to the old item left there, and then the garbage collector can reclaim the memory, uh, since there's no outstanding references.


[User] Please transcribe this text

[Assistant] Incredible as it seems, we're now a thousand years into the history of English literature. Now, at this point,


[User] Please transcribe this text

[Assistant] At some point between the 15th and 16th centuries, two big things have happened.


[User] Please transcribe this text

[Assistant] One is the emergence of the printed book. This, as it were, is invented and begins to come into the public domain.


[User] Please transcribe this text

[Assistant] At the end of the 15th and beginning of the 16th century, sometime before it dominates, but it's there and it's changing things. Shakespeare for instance, we know existed in two forms.


[User] Please transcribe this text

[Assistant] After his life, shortly after his life, as, as printed books, but during his life, uhm, on the stage. Now the other thing that happened about this period, the end of the 15th, beginning of the 16th century,


[User] Please transcribe this text

[Assistant] One says stage and theatre, but what one means is drama. Now, of course...


[User] Please transcribe this text

[Assistant] Drama existed before there was a stage to play it on or theatres to play it in.


[User] Please transcribe this text

[Assistant] English drama, like other dramas in other countries and other cultures, began on the streets of English towns, with towns people for actors.


[User] Please transcribe this text

[Assistant] Now, this is important because what the drama did, unlike the book, in order to read a book you had to be literate. You needed a great deal of education, which was in very short supply at this time.


[User] Please transcribe this text

[Assistant] But the drama, in fact, was a wide open gateway for the populace. You didn't need to be educated to see people on a stage talking and to understand what they were saying and something to participate at quite a high aesthetic level in what was going on. Now, in looking at the early drama,


[User] Please transcribe this text

[Assistant] We're in the same world, the same England, but in another sense a world away from Edmund Spencer whom we looked at in the last lecture.


[User] Please transcribe this text

[Assistant] Drama, play acting, as philosophers like Nietzsche in his work The Birth of Tragedy point out, is as universally human a practice of praying.


[User] Please transcribe this text

[Assistant] If you look at children playing in the street, you'll see that they're playing games, but also they'll be staging a spectacle, look at me, only pretend they'll say, and then they will be singing along with it, nursery rhymes, the kind of songs that children make up as they go through their little kind of theatre of the street.


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[Assistant] Drama, like the ballad, which is street poetry, brings the people, as I say, en masse into literature. That in fact is, sociologically, one of the reasons why it's so important.


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[Assistant] And it is, in origin, a folk literature. It comes up from below, it doesn't trickle down, uh, from above. You don't need to know Latin, for instance. Now, drama in England, uh, theatre in England,


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[Assistant] Uh, in its modern form, uh, begins with the so-called mystery plays. They're also sometimes called the miracle plays. Both those terms will become clearer as we go on, mystery and miracle. Now, what were these? And why were they called mysteries?


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[Assistant] Now, one can answer that by asking another question.


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[Assistant] What in the medieval period was the most important story?


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[Assistant] Well, it answers itself. It was the Bible, of course. The story of stories. But if you had a population which was largely illiterate,


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[Assistant] I could never afford books, even if they could read them.


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[Assistant] How did you get that story? The narrative that runs from Genesis to the final judgment. How did you get that story across? More so if it was, until the late 16th century, Latin. A lot of churchmen who were educated couldn't read the Bible very easily.


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[Assistant] Now, enter at this point socially the most prosperous members of urban society. Remember that


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[Assistant] England at this period is, is urbanizing. And in these great compressions of people and activity, all sorts of interesting things are happening. Uhm, the, the country's been modified, uhm, by its town life.


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[Assistant] In the towns, the guilds and the craft associations were very, very powerful.


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[Assistant] To go back to that term mystery, which in fact is a bit of a poser perhaps. In the middle ages, that word mystery connected with the French word métier, which means trade or profession.


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[Assistant] It had overtones even then of secret history, which is what we mean by mystery and seems like mystery novels. But, but craft and the skills of craft were the primary associations of mysteries and that feeds into the mystery plays.


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[Assistant] Now, the early industries which evolved in the medieval pre-modern period, in the hothouse of the medieval town, were such things as goldsmithing, glass blowing, farriory or horse care, shoemaking, glove making, masonry, carpentry. These were not simple things. They required the mastery of tools and skills.


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[Assistant] And these jealously guarded skills were passed on by the guild system, precursor, if you like, of the trade union.


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[Assistant] Only guild members were qualified to practice and tout for work. You couldn't actually get a contract unless you had a guild membership behind you. Masters of a trade would enroll apprentices and pass on the skills and the tricks of the trade. And apprentices too in time would become members and masters.


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[Assistant] Now, the guilds were set up in every large town and every large city, uh, cities being towns with cathedrals by the way, and they became rich and powerful.


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[Assistant] If you go, for instance, today to the city of London, and you look at the Guildhall, it is one of the city's most sumptuous structures, and it goes right the way back to the medieval period we're talking about today.


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[Assistant] Now the guilds, or metier, took it on themselves to spread the word. The mysteries of the greatest story ever told. They'd made money and they had a social responsibility. And, you know, like the church, they felt it was their responsibility to some extent to do something for the people, the people in fact who supported them.


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[Assistant] In short, what they decided to do was to dramatize scripture. The stories of the Bible for those who were incapable of reading the book, the book itself.


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[Assistant] And annually, usually at Easter, which as you know in the Christian calendar, is the moment when the Word of God is taken out into the larger world.


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[Assistant] At Easter there would be dramatic cycles in which each of the guilds would sponsor a wagon or a float. Now in essence it was rather like the annual Pasadena Rose Parade except


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[Assistant] Just out of interest, that parade which takes place at New Year goes back to old vegetation myths, the renewal of the birth of growth in the natural world in January. But the guilds, in fact,


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[Assistant] Would, would, would actually sort of take a, an episode from the Bible.


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[Assistant] And typically, uhm, they would take an appropriate episode, uhm, something that, that in fact fitted with their, with their guild. The carpenters, for example, would do the crucifixion. Why? Because the cross was made of wood, uhm,


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[Assistant] There would be other, the, the, the, uhm, the bargemen, for instance, might take the story of Noah, because Noah, uh, built a ship.


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[Assistant] Now, the church was generally tolerant of what the guilds were doing. There was a kind of relationship, a kind of, as it were, a kind of,


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[Assistant] A give and take between the church and the guild. They were both very powerful institutions, arguably with the crown, uh, among the most powerful institutions in the country.


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[Assistant] And indeed, some clerics, we may suspect, may have, may have helped write the scripts and possibly, you know, being the most literate and creative members of society, like Chaucer's Clark, uh, they may have had a big input. But there was no authorship as such. That's to say, you can't identify who did anything, uh, in terms of, of, of creating these works.


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[Assistant] But nonetheless, the church also, uh, and we can deduce this, I think, quite fairly, the church was also rather suspicious of what the guilds were doing, and they probably kept a kind of sort of, as it were, oversight, uh, function on the plays that were produced.


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[Assistant] Uhm, there's always been, in British literary history, a Puritan objection to the stage. Uhm, that's to say,


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[Assistant] Moralists and church people generally sort of are dubious, uhm, and worried, uhm, and authorities generally are worried about, uhm, what theatre is doing. Now, uh, there are good reasons for that which we'll perhaps look at a bit later.


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[Assistant] The mystery plays were hugely popular and manifestly had an influence on juvenile future dramatists like Shakespeare and Marlowe who we'll be looking to in the next lectures.


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[Assistant] When these young men as boys and formative


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[Assistant] At formative periods of their growth were coming of age in provincial towns like Stratford and Canterbury.


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[Assistant] When, as you remember in Hamlet, the prince gives his instructions to the players who are visiting Elsinore.


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[Assistant] What he's alluding to is traditionally Herod was played to the gallery or the street audience with crowd pleasing ranting and roaring. It was one of the things that people looked forward to and expected every year.


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[Assistant] And Shakespeare, we, we can gather and presumably sort of, uh, plausibly deduce, watched mystery plays as they trundled through the Stratford streets in the 1580s on these, these great wagons drawn by four, six horses. And in fact, he probably loved them as much as other Stratfordians did.


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[Assistant] There were other much-loved stereotypes talking about Herod, but Noah's wife, which as I say was


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[Assistant] Probably, uh, sponsored that the Noah's Ark story was probably sponsored by the shipbuilders or the bargemen, was routinely played as a scold, as a kind of woman who actually nagged her husband, you know, what are you building this boat for? And that again was something people looked forward to every year.


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[Assistant] Now, lavish costumes would be kept by the guilds, and the inventories survive, as do the scripts, which is why we know as much as we do about these plays. I mean, they, they meant, generally speaking, uhm, oral literature disappears, but there were good reasons why they had prompt copies.


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[Assistant] Because of course, every so often, you'd need a new actor to play Noah or Herod. People would do it year in, year out, but you know, Anno Domini, time would pass and you'd need to, as it were, get somebody else to do it.


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[Assistant] At one mystery play segment by way of illustration. It's the second shepherd's play from the Wakefield cycle. Now,


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[Assistant] Wakefield is a town in what is now Yorkshire in the North East of England.


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[Assistant] It's not a very big or very important place at the moment, but it was prosperous in the 14th century. The town in fact had its own cathedral, which in fact had a very large church. It was a major player in terms of the urban ensemble in 15th, 16th century England.


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[Assistant] From earliest times, Wakefield was famous for its wool production and its piety. Two things.


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[Assistant] That to say, they, they made very good textiles, uh, and they were notably churchgoers.


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[Assistant] Given the town's principal manufacturer, wool, shepherds were a prominent feature of Wakefield life. They were important and respected members of a community.


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[Assistant] Now, it's impossible to date the Second Shepherd's play accurately, but it was probably composed around 1475 and performed with various elaborations for many years afterwards.


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[Assistant] Now the Wakefield cycle, and the cycle member is Genesis to the end, but in the Wakefield cycle it begins with the creation and ends with the hanging of Judas. What a wonderful climax, which is 30 plays later.


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[Assistant] There may have been some appendices we don't know, but in fact we've got these 30 plays which in fact move chronologically through the Bible as narrative.


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[Assistant] There are two shepherds plays, both as in the New Testament, centered on the adoration by these humble men of the fields of the newborn Saviour, Jesus. Now,


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[Assistant] In addition to being main creators of wealth in Wakefield, shepherds also have a strong symbolic character in Christianity. Christ himself is allegorized as a shepherd, and the Christian congregation is his flock.


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[Assistant] So you've got this kind of, as it were, dignity attaching to the idea.


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[Assistant] And the title of shepherd. But working against this.


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[Assistant] Second Shepard's play is notably irreverent and parodic. It subverts, it undercuts. This is one of the things that makes it such a wonderful piece of, as we would say, sort of drama.


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[Assistant] Uh, though at the time, people in Wakefield must have seen it much more as a wonderful piece of religious instruction, as well as being entertaining.


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[Assistant] Now the play opens, the Second Shep's play opens, at the period of the Nativity in the area around Bethlehem.


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[Assistant] A trio of shepherds are on the hills watching their sheep by night, as the traditional towel puts it, and they learn that their saviour is about to be born.


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[Assistant] Now it's biting cold, as it inevitably is in Yorkshire in winter.


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[Assistant] And the first shepherd, who's a much fiercer chap than his fellows, angrily bemoans the cruel weather and the oppressions, including tax.


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[Assistant] Which poor folk, like themselves, had to put up with, while the rich are snug, well fed and warm by their firesides or in their cosy beds. It's a powerful blast of raw proletarian anger, which wouldn't come amiss, I think, from a 19th century radical.


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[Assistant] And I'll read it out and I'll modernize it. It's in a, it's in, in obviously old English in a sense, but also it's in dialect. It's not the easiest thing to understand.


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[Assistant] No wonder as it stands if we be poor. It's, it's not surprising we're poor. For the tilth of our land lies fallow as the floor. We, because in fact no one's actually sort of...


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[Assistant] Cultivating our land. You know, shepherds are grazers and he wonders why in fact there isn't a bit more arable work, you know, which would generate more money and they could, as it were, take it easy in winter, because everybody else in winter, of course, sort of goes away until the crops start growing again.


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[Assistant] As ye can, we are so hamad, we're so hamad, for taxed and ramad, we're so oppressed and taxed, we are made han tamad, that's to say we're beaten down, they tame us, they actually drive us down, with these gentlery men, with these, these actually gentlemen, these people in fact who are above us in the social order.


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[Assistant] Thus they may refus our rest. Thus they take away our rest. We have to work at night. Keep the wolves away. Our lady them weary.


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[Assistant] These men that are Lord Fest, they cause the plow teary. These men who are resting now while we're working,


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[Assistant] Uh, they in fact make us work instead of actually, you know, tilling the fields and letting the fields work for them.


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[Assistant] He obviously wants to be a farmer because, for various reasons, apart from being a farmer's often owned land.


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[Assistant] Angry voice that one hears here. Now rebellions were, as it happens, fairly common in the medieval period. The most famous of them was led by Jack Straw. There was a lot of firm men. The church and the guilds in fact were


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[Assistant] As it were, sort of, uh, means of controlling sometimes these anarchic forces in society.


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[Assistant] And the play doesn't continue along this radical line, it's just one speech.


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[Assistant] The second and third shepherds, the majority, are more patient with the hard lot they've drawn in life, or that God has awarded them. They actually sort of accept what they are and what they have to do. Their attitude is more one of Christian submission.


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[Assistant] The mystery plays are often didactic in this way, but what's good is they do give a voice to the protest as well as another voice to, as it were, Christian acceptance.


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[Assistant] Nonetheless, you know, like the first shepherd, the other two shepherds expatiate eloquently on the hardness of working in sleet, snow, hail and fog, while others sleep in soft beds.


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[Assistant] Now, in its way, this is Pure Brokeback Mountain, that modern morality play which also features shepherds.


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[Assistant] They've always, they've always drawn a very, a very hard lot in life, one may think.


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[Assistant] Now after this prologue comes the action of the second Shepard's play and very powerful it is. Enter Mac.


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[Assistant] Now, Mack is a rogue. And he steals one of the lambs which the other two shepherds are guarding. Uhm, they're guarding them of course from, from predators. As I say, there were still wolves in England at this period.


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[Assistant] Mac makes off with his booty and he and his wife Jill attempt then to hide the lamb as a newborn baby in a cradle.


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[Assistant] So no one will know what they've done. Now the other shepherds come to Max's cottage and they quite naturally want to cuddle what they think is a new human being born into the world and they want to give it a silver sixpenny piece.


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[Assistant] Mac fearlessly tries to stop them and change the subject. This is what the, this is the exchange, it's one of the high points of the comedy. The third pastor, the third shepherd says,


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[Assistant] The child, will it not grieve that little day star, and, muck with your leaf, let me gif your barn, but sixpence. Yeaah, don't worry about muck, I just want, let me just look at the child and give it sixpence, give it six pennies, which is a lot of money.


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[Assistant] Max says, oh, no, no, no, do away, uh, he sleeps.


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[Assistant] Go away, no, he's fast asleep. The third, the third shepherd says again, he thinks, he beeps, you know, he's looking at.


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[Assistant] Mac, uhm, when he wakens, he, he weeps. I'll tell you, go ahead. See, if you wake him up, he'll start crying. Go, go away, please.


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[Assistant] The third, the third shepherd says, give me a leaf him to kiss. Of course we know it's a, we know it's a lamb, so this is quite funny. Give me a leaf him to kiss, and lift up the clout. The clout being the clothes that he's wearing, or perhaps even the blanket which is covering him.


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[Assistant] What they, they, they discover sort of next trick and they put him in a bag and they beat him.


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[Assistant] Now after this knockabout, which I suspect had them laughing fit to die on the pavements of Wakefield every Easter, the action of the play reverts to familiar religious orthodoxy.


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[Assistant] Of course you can't laugh in church very often, and now in fact, uh, we are to be devout, we are to be good Christians. The angel of the Lord appears and instructs the three good shepherds whom we, we feel very affectionate towards now.


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[Assistant] Not Mac, who we don't feel affectionate towards, though we may like him as a lovable road. The good angel comes and tells him to worship the newborn babe in Bethlehem. This is what he says.


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[Assistant] Discovering a strange babe is of course parody. It's a parody plot. And it's daring. It verges on the blasphemous.


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[Assistant] Uh, because in fact, you know, to see the newborn Christ as an animal of the field, you know, this in fact, you can see that they're on very, very thin ice here, but in fact they skate over it. The comedy in fact carries us across.


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[Assistant] And we're not offended, I think probably not even churchmen, uh, would have been offended, uh, by the second shepherd's play.


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[Assistant] Now, you have to also remember that the holy babe is a stolen sheep.


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[Assistant] Now, this was a hanging offence. There's an English proverb, as well be hanged for a sheep as a lamb. That if you, if you stole a lamb, you were quite likely to find yourself dangling at the end of a rope. But Christmas, of course, is a time of, of forgiveness. And Christ came in the world to forgive. So Mac, in fact, is not hailed off.


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[Assistant] Uh, into the, into the local jail and put before a magistrate and strung up by his neck. He just gets off with a, with a kind of a, a beating.


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[Assistant] The holy babe rests in an animal manger. So all this business with the lamb, in fact, as we're sort of, you know, reminds us of the, as it were, the degradation, uhm, of that birthplace of our savior.


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[Assistant] And even after seven centuries, I think, the gradual discovery of what lies in Jill's cradle, building as it does to a comic climax, is irresistibly laugh out loud funny, but it keys in to the biblical story. And the mirth,


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[Assistant] You can say it's theatre, but it's also religious instruction, but...


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[Assistant] From our point of view, of course, it's this theatrical dimension which is most, most remarkable. That laughter, which we can imagine in the streets of Wakefield at Easter,


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[Assistant] In the 15th century, we'll ring through the ages, from Shakespeare to Tom Stoppard. This in fact is what happens in theatres. People laugh in theatres and then they go very silent and they become very, as it were, sort of, attentive. And you can see these things happening in the Second Shepherd's play. But above all,


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[Assistant] As to go back to what I was saying at the beginning of this lecture, this play is of the people. It is for the people.


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[Assistant] And although we have no name for the townly master who wrote it, it was, it was clearly by one of the people.


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[Assistant] That's to say, someone, somewhere, wrote a great work of literature will never know who he and possibly even she was. Now, historically speaking,


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[Assistant] The English theatre had a difficult career, a much more difficult career in some ways than literature and books.


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[Assistant] It originated, as we've just been talking about, on the streets under an uneasy license from the church. Now, there's a plausible theory that we can't test it.


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[Assistant] It may have begun even earlier in Easter rituals within the precincts or consecrated ground of the church itself, but we don't know about that, but it's a good hypothesis.


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[Assistant] But as I said, the Puritans, that's to say those in fact who wanted to refine religious practice, and they were an increasingly powerful force in the land until the Civil War in the 17th century, and beyond in fact, never approved of what they called mummery.


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[Assistant] Imitations, falsehoods, graven idols. They were inherently unchristian. There was something in fact, sort of something from their point of view wrong about taking


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[Assistant] The Christian message and making it a matter of laughter in the streets.


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[Assistant] And as Nietzsche, who I mentioned earlier, observed, drama and paganism are very close relatives. There was always that suspicion that drama was somehow sort of, it was pre-Christian and dangerous.


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[Assistant] And neither did decent, respectable folk approve of the theatre. Theatrical people have always been thought bohemian and immoral. Who was the woman who tempted the monarch, the Charles I? It was Nell Gwynne, the orange cellar in the theatre.


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[Assistant] Dramatists have, have, have always had a rather dubious reputation and actors as well.


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[Assistant] And as a result of the Puritan pressure,


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[Assistant] English theatre was licensed, that's to say controlled and censored from the 18th century almost for 200 years. Uhm, when we come to Jane Austen, there's a, one of her great novels, Mansfield Park, uhm, has at its center


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[Assistant] Every play produced on the English stage had to be passed for performance by the Lord Chamberlain.


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[Assistant] And the Lord Chamberlain's a privy counsellor of the Queen, who's charged with keeping public order in the realm. And he would scrutinise every line of a proposed dramatic performance.


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[Assistant] The Lord Chamberlain rigorously excluded language, references to royalty, blasphemy and sex, above all sex. And we're talking here about 1960.


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[Assistant] 1560. And we're talking of a country with the strongest claim to have invented modern forms of liberal parliamentary democracy.


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[Assistant] And this nervousness carries right the way through to the current licensing of cinema, for instance. Why? Because in fact, it, like drama, is dangerous. That's why films have ratings. PG, R, or X. TV programs don't. Novels certainly don't. We still have this, as it were,


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[Assistant] Anxiety about public performance. And even Shakespeare had to be careful.


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[Assistant] Uhm, when his play about deposing kings, Richard II, was performed at a period when in fact it was rather dangerous for Elizabeth because there could be rebellion about Shakespeare himself. Find him, find him and his theatrical company in very hot water. Nonetheless,


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[Assistant] The street theatre that we've been looking at in places like Wakefield. This is the gateway, this is the entry to a period of English literature which we can truly call golden. That is to say, the drama of the 16th and 17th centuries. And we have to remember that this


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[Assistant] As it were, un-respectability is also part of that heritage which we have when we come to the 17th century. That is to say that the theatres, Shakespeare's theatre, was cheeked by Jarl with the taverns and the brothels on the South Bank of London.


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[Assistant] And even though the company had noble sponsors, they carried with them the sense that they were both dangerous and exciting and above all popular. So the importance of the mystery plays is not just that they're entertaining in themselves, not just that they were important


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[Assistant] In terms of their cultural influence on the late medieval period, the early renaissance. But that they, as it were, create the framework


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[Assistant] Within which our next great talents, let's just say the son of a Stratford Glover, who happened to be called William Shakespeare, and the son of a Canterbury Shoemaker, who happened to be called Christopher Marlowe, created their masterpieces. And that is what we are looking forward to in the next lectures.


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[Assistant] I've chosen cherry tomatoes. I recall growing them in my veggie patch. I never did get to actually harvest any of them as you and Laura would usually pick them straight from the garden.


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[Assistant] Take care, my darling, and remember to keep being your gorgeous self with love, mum.


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[Assistant] Very nice. That's a really lovely moment to know that you've got


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[Assistant] All those people at home rooting for you, cheering you on, watching every step you take, just like we do. And we now have to wipe away the tears that are at George Gary and my feet. Uhm, you need to put your emotions underneath that mystery box lid because now we're gonna cook. And you're gonna cook using


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[Assistant] In a delicious, amazing, top six. This is the best I've cooked so far on the competition dish. It's very simple. You're gonna have 60 minutes. An open pantry, the garden's in play.


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[Assistant] We're going to taste all your dishes, but we're just looking for one dish, the best dish today.


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[Assistant] Oh wow. What do you reckon? That's like another 10 minutes, or is it?


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[Assistant] It's like the tomatoes got multiple personalities, isn't it? As you eat it, you get to see different facets of the tomato. And I think that's what's great about it, is that the tomato shows a sour face and a sweet face and a fresh burst of flavour face. Six times taste of the mystery box, never won. Oh, you're close this time. Thank you. Thanks.


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[Assistant] It's hard because you've got the letter from your daughter, so you go back to that way and you want to play homies to that time and how far you can't, but don't try and make a two hour dish in one hour.


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[Assistant] It's an absolute rollercoaster ride of flavours and some of those left hand turns like the olive and the poppy seeds are so shocking and so surprising they make the whole dish differently. It's clever, inspirational, totally delicious. You're supposed to be very proud of you.


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[Assistant] But one dish that I think really blows away, had everything. Creativity, deliciousness. Absolutely bang on in terms of the challenge. The best dish you've cooked so far.


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[Assistant] We have picked what we feel is a brilliant ingredient for you to cook with right now. In final week, top six, and you're going to get excited for what some of these clutches.


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[Assistant] Beautiful. Great. Tessa, you're next. We think you're gonna love this. John Dory.


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[Assistant] You know, 80, 90% butter mash. Think about that mash and the burnt butter.


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[Assistant] Yeah, look, I like the best. It's got all those deep, rich flavors. But your pasta is tough. Your filling gets lost underneath it. And I think you just gotta learn when to pull the ripcord.


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[Assistant] And that bisque and you're making a fish soup and suddenly, you know, in 15 minutes you've turned around the ship and you're doing something that's really credible that reflects who you are as a cook.


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[Assistant] So you've got skills. We know you've got skills. It's fantastic to see another string to your bow. And now it's just a matter of finesse. Touch and finesse. Well done.


[User] Please transcribe this text

[Assistant] I love about this dish is the bone marrow itself and the crumb on the top. Fantastic. Delicious. You can cook brilliantly. That bone marrow is proof of that. But if it's not good, where does it go?


[User] Please transcribe this text

[Assistant] Yeah, stick to that and you'll go far. Don't, you'll go home.


[User] Please transcribe this text

[Assistant] Oh, that looks good, doesn't it? Hey, Tessa, we picked the John Dory for you.


[User] Please transcribe this text

[Assistant] Okay, there's another facility that Java provides that leads to very elegant and compact client code that's definitely worthwhile to add to our basic data types, and that's iteration. That's what we're going to talk about now.


[User] Please transcribe this text

[Assistant] So what we want to do is to allow the client to iterate through the items in the collection. Uh, but we don't want the client to know whether we're using an array or a linked list or whatever internal representation we might have in mind. It's not relevant to the client.


[User] Please transcribe this text

[Assistant] Java does provide a nice solution to this, uh, called iteration.


[User] Please transcribe this text

[Assistant] Uh, so what we're gonna do is look at how to make our stack, uh, in queue, uh, in other data structures that we consider later on, uh, implement the so-called iterable interface. Uh, and it'll work, uh, for client code no matter which, uh, implementation we use. So let's take a look at the details of that.


[User] Please transcribe this text

[Assistant] And so, uh, what's an iterator? Uh, well an iterator is, uh, uh, something, uh, a class that has methods, has next and next.


[User] Please transcribe this text

[Assistant] Uh, if we have a data structure that's iterable, uh, we can use a very compact and elegant client code in Java, uh, the so-called for each statement. Uh, so if we have a stack, uh, we can say for string s colon stack means for each string in the stack, uh, printed out.


[User] Please transcribe this text

[Assistant] Uh, and if we didn't have that, uh, we would, uh, well, if we're using iterators, we could go ahead and, uh,


[User] Please transcribe this text

[Assistant] Uh, write this longhand code, but nobody would ever do that because it's equivalent to this shorthand. Uh, or, uh, we might have to write client code that does a lot of unnecessary pushes and pops, uh, just to, uh, do this iteration.


[User] Please transcribe this text

[Assistant] A method iterator that returns an iterator. So what's an iterator? So we're going to use an inner class. In this case, we'll call it list iterator that implements iterator and it's generic.


[User] Please transcribe this text

[Assistant] Uh, and basically what this thing has to do is implement these methods hasNext and next.


[User] Please transcribe this text

[Assistant] And the semantics is clear from the names. Has next is supposed to, if, if we're done, it's supposed to return false. If we're not done, it's supposed to return true. And the next is supposed to give the next item in the iteration.


[User] Please transcribe this text

[Assistant] So if the thing is a linked list, uh, we're gonna start out at first. Uh, we have, that's the, our first item in the list. And we're gonna maintain, uh, an instance variable current inside this iterator, which is the current thing that we're iterating.


[User] Please transcribe this text

[Assistant] So to get the next one, just like when we removed the first, we pull out the current item and then advance the current reference and return item, moving current to the next place.


[User] Please transcribe this text

[Assistant] Uh, the client is always going to be testing hasNext, as I, as I showed in that stub code before. And so when it gets to null, it'll return false in the iterational stop.


[User] Please transcribe this text

[Assistant] Uh, but for our iteration, we just have to worry about implementing next and has next and perhaps using a local instance variable to get it done.


[User] Please transcribe this text

[Assistant] Probably to make bulletproof code, throw exceptions if a client tries to call next with no items there or tries to call remove at all. We're not going to support remove.


[User] Please transcribe this text

[Assistant] So, in this case then, next is just decrement and return the next one, and our instance variable is an index in the array, and then hasNext is okay as long as that thing is positive.


[User] Please transcribe this text

[Assistant] Provide this iteration facility, but actually within this framework not too much to do.


[User] Please transcribe this text

[Assistant] And you can see how to implement this for your own data types and, and we'll use this paradigm for every basic data type that we, that involves collections of objects that we'll encounter.


[User] Please transcribe this text

[Assistant] That data structure is called a bag. So let's look at what that API looks like.


[User] Please transcribe this text

[Assistant] Uh, the order doesn't matter, uh, so all we're gonna do is add an item. Uh, maybe we wanna know the size, uh, and we wanna iterate through all the items in the bag.


[User] Please transcribe this text

[Assistant] So, uh, this is, uh, a simpler, narrower API, uh, but still, uh, it, uh, expresses, uh, an important little collection of operations, uh, and, uh, and we'll use this one. Uh, and we've already seen the implementations, uh, you just take stack and remove the pop or queue and remove the dequeue.


[User] Please transcribe this text

[Assistant] It's about attention to detail. The instructions in that recipe will lead you to the best balance at the end.


[User] Please transcribe this text

[Assistant] It's about being neat and tidy and show your real craftsman skill.


[User] Please transcribe this text

[Assistant] Above that we've got a chewy coconut dacquoise.


[User] Please transcribe this text

[Assistant] In the centre is the liquid raspberry centre.


[User] Please transcribe this text

[Assistant] And a coconut and rum gel with a raspberry and lemon myrtle sorbet.


[User] Please transcribe this text

[Assistant] So, when we look at thicknesses of the biscuit, the dacquoise, the size of the liquid centre when you freeze it, you know, all these things play a part to making sure that everything fits within and you can have enough white chocolate mousse around the outside. Shall we taste?


[User] Please transcribe this text

[Assistant] Will you do the honors? So good luck, and your time starts now.


[User] Please transcribe this text

[Assistant] When it's complete before you can finish the dish. Come on Anoushka, you gotta get a hurry on. Let's go, go, go.


[User] Please transcribe this text

[Assistant] What do you reckon? Were you impressed? Absolutely, I think they did really, really well. So, uh, let's get the first one underway, shall we? Yeah.


[User] Please transcribe this text

[Assistant] What do you reckon, Ashley? I think that's a very good effort there.


[User] Please transcribe this text

[Assistant] It's, uh, it's not straightforward. You know, it's, it is a puzzle.


[User] Please transcribe this text

[Assistant] Like we were saying, and uhm, you managed to do that in four hours. So that's amazing.


[User] Please transcribe this text

[Assistant] It's very good. It's very good. It tastes amazing. She's actually got the texture of the biscuit just perfect. You know, it's just that lovely sort of light crunch. The right thickness, the balance is right.


[User] Please transcribe this text

[Assistant] Let's get the next one underway. Good luck.


[User] Please transcribe this text

[Assistant] You know, it could possibly be, you know, a little bit too much chocolate when pouring it in around the raspberry center and it's kind of taken over the main flavor profile of the dish, right?


[User] Please transcribe this text

[Assistant] Now that looks very good. Yeaah, he's really built that well.


[User] Please transcribe this text

[Assistant] Definitely, I mean, the first half an hour, you know, you could see the panic in only reading a couple of steps ahead and I honestly thought we would never get anything like that.


[User] Please transcribe this text

[Assistant] Chapter 2. France.


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[Assistant] Dear James, very soon I am going to die and meet my God. Before I die, I want to write the true story of my life for you.


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[Assistant] Everything that I write here is true.


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[Assistant] I cannot lie to you or to God. Please believe that, James. It's important to me.


[User] Please transcribe this text

[Assistant] My father died when I was one week old. So I was the queen of Scots when I was a baby.


[User] Please transcribe this text

[Assistant] At first, I lived with my mother in Scotland. And then, when I was five, I went to France. My mother was French, but she stayed in Scotland and died there.


[User] Please transcribe this text

[Assistant] I went to France to marry the King of France's son. His name was Francis, and he was one year younger than me.


[User] Please transcribe this text

[Assistant] In 1559, his father died. So Francis was king. Then I was queen of France and queen of Scotland too.


[User] Please transcribe this text

[Assistant] I was very happy in France. Francis, my husband, was like a little brother to me. I think he loved me but he was very young and he was often ill.


[User] Please transcribe this text

[Assistant] And then, in 1560, he died. He was 16 years old.


[User] Please transcribe this text

[Assistant] When he died, I was very unhappy, and my life was very different. There was a new king and queen, and I wasn't important in France anymore.


[User] Please transcribe this text

[Assistant] But I was still Queen of Scots. So I came back to Scotland. When I arrived in Scotland, I was a young girl of 18. My mother was dead and there was no one there to meet me. I walked off the ship and I slept in a little house near the sea. Next day,


[User] Please transcribe this text

[Assistant] The Scots Lords came from Edinburgh. They were pleased to see me, and for a week, everyone was happy. People smiled at me and sang in the streets. I think everyone liked me. Then, that Sunday, I went to church.


[User] Please transcribe this text

[Assistant] James, my son, you are a Protestant, and I am a Catholic.


[User] Please transcribe this text

[Assistant] You are a good man and you love God, but your church and my church are enemies. I was born a Catholic and I am going to die a Catholic.


[User] Please transcribe this text

[Assistant] I love God too. I hope you understand that.


[User] Please transcribe this text

[Assistant] I'm sorry, my lords, I said, but I am your queen. No one tells me what to do. I don't hate Protestants and I'm not going to kill them. The people can go to their Protestant churches and pray to God there. But I'm going to pray with Catholics in my church.


[User] Please transcribe this text

[Assistant] People were angry because of that. A man called John Knox came to see me. He was a famous Protestant churchman, but I didn't like him. He was a big angry man with black clothes. He hated the Catholic church.


[User] Please transcribe this text

[Assistant] And wanted all Catholics to leave Scotland. To him, the Protestant Church was the only true Church of God. He said, Your Majesty, you're a young woman like my daughter. Women?


[User] Please transcribe this text

[Assistant] Find a good Protestant husband girl. Let him rule this country for you.


[User] Please transcribe this text

[Assistant] I was very angry with this man, Knox. I was a queen, but I was only eighteen. He didn't talk quietly. He shouted at me. I cried because of his angry words. I could not understand him. He talked so much, and he knew so many books. But I did not go to his church.


[User] Please transcribe this text

[Assistant] Perhaps I could rule Scotland without a man, but I could not have a child without one. And every queen needs a son or daughter to come after her.


[User] Please transcribe this text

[Assistant] Your story must be true. My poor father.


[User] Please transcribe this text

[Assistant] Your story must be true. My poor father.


[User] Please transcribe this text

[Assistant] All this time, people thought that evil Taoist was him.


[User] Please transcribe this text

[Assistant] Why are most manhole covers round? Sure, it makes them easy to roll and slide into place in any alignment. But there's another, more compelling reason involving a peculiar geometric property of circles and other shapes.


[User] Please transcribe this text

[Assistant] Imagine a square separating two parallel lines. As it rotates, the lines first push apart, then come back together.


[User] Please transcribe this text

[Assistant] But try this with a circle, and the lines stay exactly the same distance apart, the diameter of the circle.


[User] Please transcribe this text

[Assistant] Draw two more circles in the same way, centered on the other two vertices, and there it is, in the space where they all overlap.


[User] Please transcribe this text

[Assistant] Because rouleaux triangles can rotate between parallel lines without changing their distance, they can work as wheels, provided a little creative engineering.


[User] Please transcribe this text

[Assistant] And if you rotate one while rolling its midpoint in a nearly circular path, its perimeter traces out a square with rounded corners, allowing triangular drill bits to carve out square holes.


[User] Please transcribe this text

[Assistant] Any polygon with an odd number of sides can be used to generate a curve of constant width using the same method we applied earlier.


[User] Please transcribe this text

[Assistant] Though there are many others that aren't made in this way.


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[Assistant] For example, if you roll any curve of constant width around another, you'll make a third one.


[User] Please transcribe this text

[Assistant] This collection of pointy curves fascinates mathematicians. They've given us Barbier's theorem, which says that the perimeter of any curve of constant width, not just a circle, equals pi times the diameter.


[User] Please transcribe this text

[Assistant] Another theorem tells us that if you had a bunch of curves of constant width with the same width, they would all have the same perimeter, but the Rouleau Triangle would have the smallest area.


[User] Please transcribe this text

[Assistant] In three dimensions, we can make surfaces of constant width, like the rouleau tetrahedron, formed by taking a tetrahedron, expanding a sphere from each vertex until it touches the opposite vertices, and throwing everything away except the region where they overlap.


[User] Please transcribe this text

[Assistant] Now back to manhole covers. A square manhole cover's short edge could line up with the wider part of the hole and fall right in.


[User] Please transcribe this text

[Assistant] This large vase, he claimed, could tell them whenever an earthquake occurred in their kingdom, including the direction they should send aid.


[User] Please transcribe this text

[Assistant] The court was somewhat skeptical, especially when the device triggered on a seemingly quiet afternoon. But when messengers came for help days later, their doubts turned to gratitude.


[User] Please transcribe this text

[Assistant] Today, we no longer rely on pots to identify seismic events, but earthquakes still offer a unique challenge to those trying to track them.


[User] Please transcribe this text

[Assistant] So why are earthquakes so hard to anticipate, and how could we get better at predicting them?


[User] Please transcribe this text

[Assistant] To answer that, we need to understand some theories behind how earthquakes occur. Earth's crust is made from several vast jagged slabs of rock called tectonic plates, each riding on a hot, partially molten layer of Earth's mantle.


[User] Please transcribe this text

[Assistant] This causes the plates to spread very slowly, at anywhere from 1 to 20 centimeters per year. But these tiny movements are powerful enough to cause deep cracks in the interacting plates. And in unstable zones, the intensifying pressure may ultimately trigger an earthquake.


[User] Please transcribe this text

[Assistant] It's hard enough to monitor these minuscule movements, but the factors that turn shifts into seismic events are far more varied.


[User] Please transcribe this text

[Assistant] Different fault lines juxtapose different rocks, some of which are stronger or weaker under pressure.


[User] Please transcribe this text

[Assistant] Diverse rocks also react differently to friction and high temperatures. Some partially melt and can release lubricating fluids made of superheated minerals that reduce fault line friction. But some are left dry, prone to dangerous buildups of pressure.


[User] Please transcribe this text

[Assistant] And all these faults are subject to varying gravitational forces, as well as the currents of hot rocks moving throughout Earth's mantle.


[User] Please transcribe this text

[Assistant] So which of these hidden variables should we be analyzing, and how do they fit into our growing prediction toolkit?


[User] Please transcribe this text

[Assistant] Today, many of our most reliable clues come from long-term forecasting related to when and where earthquakes have previously occurred.


[User] Please transcribe this text

[Assistant] At the scale of millennia, this allows us to make predictions about when highly active faults, like the San Andreas, are overdue for a massive earthquake.


[User] Please transcribe this text

[Assistant] But due to the many variables involved, this method can only predict very loose timeframes. To predict more imminent events, researchers have investigated the vibrations Earth elicits before a quake.


[User] Please transcribe this text

[Assistant] Geologists have long used seismometers to track and map these tiny shifts in the Earth's crust. And today, most smartphones are also capable of recording primary seismic waves.


[User] Please transcribe this text

[Assistant] With a network of phones around the globe, scientists could potentially crowdsource a rich, detailed warning system that alerts people to incoming waves.


[User] Please transcribe this text

[Assistant] Unfortunately, phones might not be able to provide the advance notice needed to enact safety protocols. But such detailed readings would still be useful for prediction tools like NASA's Quakesim software, which can use a rigorous blend of geological data to identify regions at risk.


[User] Please transcribe this text

[Assistant] However, recent studies indicate the most telling signs of a quake might be invisible to all these sensors.


[User] Please transcribe this text

[Assistant] In 2011, just before an earthquake struck the east coast of Japan, nearby researchers recorded surprisingly high concentrations of the radioactive isotope pair radon and thoron.


[User] Please transcribe this text

[Assistant] As stress builds up in the crust right before an earthquake, microfractures allow these gases to escape to the surface.


[User] Please transcribe this text

[Assistant] These scientists think that if we built a vast network of radon-thoron detectors in earthquake-prone areas, it could become a promising warning system, potentially predicting quakes a week in advance.


[User] Please transcribe this text

[Assistant] With a deeper view, we might be able to track and predict large-scale geological changes in real time, possibly saving tens of thousands of lives a year. But for now, these technologies can help us prepare and respond quickly to areas in need, without waiting for directions from a vase.


[User] Please transcribe this text

[Assistant] Keep exploring the terrifying power of nature with this playlist.


[User] Please transcribe this text

[Assistant] This is going to be the hardest elimination I've faced so far. So I'm gonna need to fight with everything I've got. Hey Timmy.


[User] Please transcribe this text

[Assistant] Tim and Tessa got second and third place in the press club challenge and they've got an advantage. Let's do it. Simon and I are already on the back foot.


[User] Please transcribe this text

[Assistant] It's pretty hard going up against your friend. Last time Tessa and I went head to head, I actually won.


[User] Please transcribe this text

[Assistant] But she's got the advantage, she's chosen Asian. I'm gonna have to work hard if I'm gonna match her today.


[User] Please transcribe this text

[Assistant] Into my curry sauce I'm putting kaffir lime leaves, chillies, galangal, ginger, garlic, shallots, onions. There's a lot going in there. I want this sauce to pack a punch. Hopefully I can give Tessa a run for her money.


[User] Please transcribe this text

[Assistant] I've got no idea what Tess is doing. For now, I've gotta put everything I've got into this cook. It's gotta be perfect.


[User] Please transcribe this text

[Assistant] Refilling my salmon has taken me so long, I'm running out of time. Work fast, it's gonna fly.


[User] Please transcribe this text

[Assistant] I'm gonna pan fry my salmon with confidence and I'll get it cooked perfectly. Skin on, Christy.


[User] Please transcribe this text

[Assistant] I have my final spoonful of the sauce and I think it tastes really nice. Sour, but it's not too spicy. I get my noodles in a bowl with the salmon on top. I'm praying that everything's cooked perfectly. Come on, Nickers.


[User] Please transcribe this text

[Assistant] I'm really happy with the flavor of my curry sauce. I just don't know about the salmon. I just hope it's cooked well.


[User] Please transcribe this text

[Assistant] I think I would have preferred the farmhouse pantry. It's definitely more my style of cooking. But uhm, I've had a couple of ideas floating around.


[User] Please transcribe this text

[Assistant] I just, yeaah, I just feel like I just have no confidence sometimes.


[User] Please transcribe this text

[Assistant] There's so much passion fruit going into this sorbet. It's really nice and acidic. I get that into the blast chiller to cool down before it churns.


[User] Please transcribe this text

[Assistant] Come on, let's go! Time is flying by. I'm just running around like crazy.


[User] Please transcribe this text

[Assistant] My sorbet is ready. I get it out of the churner. I think it looks great. It's so nice and fluffy.


[User] Please transcribe this text

[Assistant] I've got my twill out of the oven. It looks really good. I'm happy with it. It's got nice little crispy flakes through it. I'm checking on my parfait and it's so runny.


[User] Please transcribe this text

[Assistant] Uh. What else is going on the plate if it doesn't? My mind is just turning. I think my dish might be a total disaster. And I'm freaking out.


[User] Please transcribe this text

[Assistant] I'm so devastated about this parfait. It's the main element on my plate and if I don't have a dish I'm going home. I don't know.


[User] Please transcribe this text

[Assistant] Come on Tim, come on Nicole, make it count, come on. I've got my mousse, I've got my sorbet, I've got my twill and my crumbs, and I'm pretty happy with the flavours. I just need something fresh on this dish, so I just grab some figs and get them on the pan. Awesome.


[User] Please transcribe this text

[Assistant] Passion fruit and veg is a nice combination. I just have to keep my fingers crossed and hope that the judges enjoy it.


[User] Please transcribe this text

[Assistant] I'm just exhausted after that. Yeah, that was tough.


[User] Please transcribe this text

[Assistant] I'd love to get through to semis, that would be amazing. We'll have to just see what happens.


[User] Please transcribe this text

[Assistant] But this isn't the dish that I wanted to present.


[User] Please transcribe this text

[Assistant] I've done, uh, figs, pheotene, uh, twill, passion fruit sorbet, and uh, chocolate mousse.


[User] Please transcribe this text

[Assistant] Yeah, I really struggled in those last couple of minutes. But you didn't give up? No.


[User] Please transcribe this text

[Assistant] I've learnt so much about myself and how passionate I am about food and I want to do something educational, basics for people that don't know how to cook.


[User] Please transcribe this text

[Assistant] I've just enjoyed how much I've grown as a person. Uhm, I think my resilience has just gone through the roof. All the challenges I've faced, I've just, you know, tackled them head on and that's not what I'm like. I'm usually quite scared but I'm quite fearless now and I'm gonna take that with me.


[User] Please transcribe this text

[Assistant] It's springtime, shouted Mole. Smell that fresh air. But my house is so dusty and dirty, he said. I need a bucket. I need a mop. It's time to clean.


[User] Please transcribe this text

[Assistant] The kitchen is spotless. The pots and pans are all washed. The floor is next.


[User] Please transcribe this text

[Assistant] Ow! He groaned. My back is sore. My arms are sore too.


[User] Please transcribe this text

[Assistant] That is incredible. Makes your taste buds dance. I'd be delighted if I'd made that. Like a whisper of a dream of a dessert. For the first...


[User] Please transcribe this text

[Assistant] I am a Nana. I have the most beautiful grandson. And this opportunity is something that I can prove to my grandson that anything is possible.


[User] Please transcribe this text

[Assistant] I come up with this in 2011, just to combine two of my favourite foods, gnocchi and spinach and ricotta cannelloni.


[User] Please transcribe this text

[Assistant] I want to get this apron only because I have so much still to learn. Even at my age.


[User] Please transcribe this text

[Assistant] I really want to make mum proud. And I want to come out with an apron.


[User] Please transcribe this text

[Assistant] We're from Naples, uhm, yes. I was born in a town called Benevento and I was three when I came to Australia.


[User] Please transcribe this text

[Assistant] And what have you made here? A little salad? That is just a rocket pear walnut salad. Just to give it a little bit of freshness.


[User] Please transcribe this text

[Assistant] I've wanted to apply for years and I've just been too nervous. I've looked at the application form a few years in a row now, but I've never gone through with it. I think I just lacked a bit of self-confidence.


[User] Please transcribe this text

[Assistant] But when I cook, that's honestly where I feel like I can be myself.


[User] Please transcribe this text

[Assistant] This opportunity for me is huge. It's life changing. It's, I've dreamed of it for so long and I really want it.


[User] Please transcribe this text

[Assistant] Expectation on, on how you should look and how you should, what you should do if you are a certain way and...


[User] Please transcribe this text

[Assistant] I'm cooking Chicken Rendang with Coconut Rice and Pineapple Aca with Apam Jala.


[User] Please transcribe this text

[Assistant] What I love about cooking is once I come back from work, whatever stress I have, I don't think about it. Okay guys, your salmon.


[User] Please transcribe this text

[Assistant] Have you done everything? You've cooked everything? No, I'm gonna cook the roti jala for you guys. Yeah, great. Now? Yeah, come on then. Crack on.


[User] Please transcribe this text

[Assistant] I'm a prison officer. I've been in law enforcement for the last 20 odd years.


[User] Please transcribe this text

[Assistant] Cooking is like, uh, a daily thing for me. I come back from work, everyday I cook. For my kids, for my family.


[User] Please transcribe this text

[Assistant] Feels incredible to be part of Top 5, Master of 2019. It even just sounds weird saying it out loud.


[User] Please transcribe this text

[Assistant] I think if you make it this far, you definitely want to make it to semi-finals and that's my ultimate goal.


[User] Please transcribe this text

[Assistant] I don't want too much time, to be honest. It's not necessarily true that if you have more time in that kitchen that your dish will be better. In fact, I think sometimes when you have less time to work with your dishes end up being a lot better.


[User] Please transcribe this text

[Assistant] I think you're going to think I'm crazy as always, but I'm doing a dessert with passive ice cream, caramelised pear, and a dark chocolate cremeux.


[User] Please transcribe this text

[Assistant] I can definitely call myself a risk taker. I like putting interesting food combinations together. I'm here to be creative. I think you always need a multitask in this kitchen, so I'm doing the dark chocolate creme at the same time with the uhm, plastic ice cream.


[User] Please transcribe this text

[Assistant] I don't think you see parsnips in dessert very often, but pears and parsnips and chocolate all make sense as a flavour combination.


[User] Please transcribe this text

[Assistant] There's no rules, there's no limitations. You have the freedom to do what you want. So really, if you stuff up, that's just on you.


[User] Please transcribe this text

[Assistant] Yes, I'm using sherry vinegar as my caramel so that it's not too intense, uhm, not too rich as well.


[User] Please transcribe this text

[Assistant] Caramelising some pears in some sherry vinegar just to add a bit of acidity because it's quite rich. And for texture I'm just going to caramelise some buckwheat that will be toasted.


[User] Please transcribe this text

[Assistant] Gary has made me feel very doubtful of what I'm doing with these pears because it's just not gonna have enough time to really break down and for that pear to be really, really soft. I'm really starting to freak out because I have no idea what to do.


[User] Please transcribe this text

[Assistant] He thinks that, you know, if I'm using a hard pear, it just means that it's gonna be really hard to caramelize and to make it really soft so that when you do eat it, it should have the spoon going straight through that pear


[User] Please transcribe this text

[Assistant] I'm really worried because to make sure that the pear is soft enough to eat is to really cook it down for a long time and I feel like time is slipping away.


[User] Please transcribe this text

[Assistant] Just in case these pears don't work out for me, I'm thinking of a Plan B and caramelising parsnips as an addition to my dessert. So, ehm, just give myself a lot of backup options here.


[User] Please transcribe this text

[Assistant] I finished caramelized my parsnip and my pears and I taste them both to see which one I want to go for.


[User] Please transcribe this text

[Assistant] The parsnip isn't right in texture. It's almost stringy and I don't want to put anything on the plate that I'm not happy with. The pears are really nice and soft. I can't use the parsnip so I'm gonna have to use the pears.


[User] Please transcribe this text

[Assistant] It's time to plate up. I grab my crema out of the freezer.


[User] Please transcribe this text

[Assistant] This dish is gonna show the judges how far I've come into this competition.


[User] Please transcribe this text

[Assistant] Yeah, a little bit. I'm just...gotted.


[User] Please transcribe this text

[Assistant] I am just gutted. My crema hasn't set. It's just liquid coming out of that piping bag. It's a complete mess on the plate.


[User] Please transcribe this text

[Assistant] Yeah, it's just a city that I want this for. This dish is meant to show the judges how far I've come.


[User] Please transcribe this text

[Assistant] I'm tasting it and it's way too runny. I can't serve this.


[User] Please transcribe this text

[Assistant] So I'm thinking maybe I can make it into a chocolate sauce for my dessert.


[User] Please transcribe this text

[Assistant] But I wanna still incorporate that sort of sherry vinegar flavor.


[User] Please transcribe this text

[Assistant] So why not combine the sherry vinegar caramel with the chocolate cremeux and call that a chocolate sherry vinegar sauce.


[User] Please transcribe this text

[Assistant] I can't believe I've managed to pull this sauce off. This dessert was an absolute disaster and I think I may have rectified the problem.


[User] Please transcribe this text

[Assistant] I'm so proud of myself because with only three minutes left to go in that cook, I was faced with a complete disaster and I've managed to turn that around and make a dish that I can say that I'm really proud of.


[User] Please transcribe this text

[Assistant] But at the same time, have I taken too much of a risk by putting parsips into a dessert?


[User] Please transcribe this text

[Assistant] And I promised the judges that I was gonna give them the chocolate cremeux on my dessert, and I don't have that on the plate. It didn't work. And I just hope that that doesn't let the dish down.


[User] Please transcribe this text

[Assistant] Caramelised pear, caramelised buckwheat, and then a sherry vinegar and chocolate sauce.


[User] Please transcribe this text

[Assistant] Uhm, I don't know if it's gonna be perfect, but I'm happy with the dessert itself.


[User] Please transcribe this text

[Assistant] I thought maybe I can incorporate the cremeux and the sherry caramel together to make a sauce.


[User] Please transcribe this text

[Assistant] No, I, I tried it and I just feel like I had that really weird sort of texture. It was really stringy. So now that's just, uhm, caramelized pear.


[User] Please transcribe this text

[Assistant] It feels incredible to think that I have an advantage for tomorrow's challenge and to think that I can use that to go straight through to semi-finals is huge.


[User] Please transcribe this text

[Assistant] Why do we have two eyes instead of one? You don't know?


[User] Please transcribe this text

[Assistant] You were not able to see it, right? Okay, let me tell you why.


[User] Please transcribe this text

[Assistant] Both our eyes work together and help us to see, judge and perceive a view accurately. Having two eyes provides us with a wider field of view.


[User] Please transcribe this text

[Assistant] When both our eyes are open, we get a horizontal field of view of about 180 degrees.