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[Assistant] You could offend some people, or maybe you don't want your children knowing them. No swear words, but if you're around children, headphones in, and if you're easily offended, then you can find another video. You've been warned. The first bit of new vocabulary that I'm going to share with you is actually a phrasal verb. And this is to piss off. And you can also be pissed off.


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[Assistant] And it means to make angry or to annoy. So I could say, I felt really pissed off when I saw that somebody had scratched my car. Or I think I really pissed my teacher off when I didn't hand in my homework on time. Uhm, just so you know, that word, to piss off, piss on its own is actually a vulgar word for


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[Assistant] To urinate, uhm, so it's not respectful, so around friends, very informal situations, but it's important you understand it. The next one is another phrasal verb, and this is to rile somebody up.


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[Assistant] To rile one up. And again, it means to make somebody angry, to push them until they maybe explode or lose their temper.


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[Assistant] So to rile up or to rile somebody up is to make them angry. So I could say somebody's been picking on me for a while and they're really riling me up. I feel like I'm going to lose my temper.


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[Assistant] Okay, the next words all go with the verb to be. So these are all ways of saying to be angry or to be annoyed. So the first one, to be livid.


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[Assistant] Livid just means really really really angry. Then we have to be fuming.


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[Assistant] If you seethe, you are just so angry. Then we have a couple that aren't as strong. We have to be irked. That's annoyed and just ever so slightly pissed off.


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[Assistant] And we also have miffed. If somebody does something that makes you go, oh, then you could say you feel a bit miffed.


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[Assistant] If you rub somebody up the wrong way, you are treating them in a way that might make them angry or annoyed.


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[Assistant] So if I say I'm at the end of my tether, it means I am this close to losing my temper, to getting really, really angry. You've really offended me, you've really annoyed me.


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[Assistant] I'm this close to really exploding. Another very similar one is the last straw. So the last straw is that final thing in a collection of many little things that have annoyed you, but that one thing, it's the last straw. It's the thing that makes you lose your temper. So I could say I had a terrible day.


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[Assistant] But my running training being cancelled was the last straw. I just pfft. Screw it. I was really angry.


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[Assistant] The next two are about losing your temper, and obviously if you lose your temper, it means


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[Assistant] That's it, you are, you are angry, you're shouting, you get maybe a bit aggressive.


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[Assistant] So one way of saying to lose one's temper is to lose one's rag. So rag replaces temper in this case. So if somebody lost their rag, it means they exploded in a fit of anger. And another option is to fly off the handle again. To lose one's rag, to fly off the handle, to lose one's temper.


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[Assistant] So, I've got some homework for you. I would like you to write in the comments section something that made you angry or annoyed recently. If you want to share it, of course. Uhm, I think it will be really interesting. Normally I'm all about spreading positivity, but I don't know. Today I want to spread the annoyance and the anger.


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[Assistant] Sign up using the link below and claim your free lesson. Honestly, I've been working with italki for a long time. I have had so many students use them and they've had really great results. I get really lovely feedback from students. It's an incredibly affordable way of having a private tutor.


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[Assistant] And I will see you for another lesson very, very soon.


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[Assistant] Hey guys, welcome to day 38 of 100 days of coat.


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[Assistant] Now today I've got a challenge project for you and this challenge project


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[Assistant] Is going to be building an exercise tracking application using Python and Google Sheets.


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[Assistant] One of the things I've been trying to do recently is to track my workouts. And I've been doing that on pretty much pen and paper.


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[Assistant] But wouldn't it be nice if we could track the workout that we're doing, what time, how long we've been doing the exercises for,


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[Assistant] And also figure out how many ice creams we can eat because of the workout that we did. So tracking the amount of calories we've used up as well.


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[Assistant] Now a lot of the inspiration for this project comes from the recent news on the OpenAI's GPT-3 AI model.


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[Assistant] And it's a really smart natural language processing model.


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[Assistant] Where for example, if you went onto Wikipedia, you found an article on bread.


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[Assistant] You decided to use this model to ask it, well, why is bread so fluffy?


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[Assistant] It can actually search through all of the text and find you the relevant part. So it's doing some intelligent stuff behind the scenes to understand what you're saying and also understand what the article is all about.


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[Assistant] And this is called natural language processing, but it's just a very powerful one.


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[Assistant] Now in our case, we're also going to use natural language processing and we're going to write down the exercises that we did, but in a normal English sentence.


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[Assistant] You can imagine the situation where you're in the gym and you pull up.


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[Assistant] Now I've pulled up this same page, but on the Chrome browser on my mobile phone.


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[Assistant] So this is what I might do after a gym workout or after a quick cycle.


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[Assistant] And what we're going to try and do is to get the data to go into our spreadsheet here on Google Sheets.


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[Assistant] That my activities have been logged. So the date and time have been added automatically.


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[Assistant] It's understood that one of my activities was running and it figured out the duration based on the distance. So on average, it might take somebody 31 minutes in order to run 5 kilometers. And then it worked out the number of calories I've expended doing that activity. And it did the same thing for my cycling.


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[Assistant] Except this time the duration comes from my input and the calories is calculated automatically. So this is really exciting and the best part, you're going to be building it all by yourself.


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[Assistant] You're going to be using a bunch of things that you've learned so far, including the Python date time, string of time method, using APIs, making post requests.


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[Assistant] Creating authorization headers and environment variables. You're going to be doing a bunch of this step by step by yourself.


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[Assistant] And if you head over to the next lesson, there's the instructions for how to get started. So I hope you're excited to get started and I'll see you on the next lesson.


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[Assistant] Elf Learning presents Nature Phrases 1 Listen and Repeat


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[Assistant] beach, crabs on the beach. beach, beach, crabs on the beach. cloud, cloud, clouds in the sky. cloud, cloud, clouds in the sky. desert,


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[Assistant] Farm. Farm. Cows on the farm. Farm. Farm.


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[Assistant] Grass, grass, grass in the park.


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[Assistant] Jungle, jungle, monkeys in the jungle. Jungle, jungle, monkeys in the jungle. Lake, lake, boats on the lake. Lake, lake, boats on the lake.


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[Assistant] Thank you very much. See you next time. Bye.


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[Assistant] Bart, real quick, uh, thank you. Uhm, before we go on any further, you're being translated simultaneously in nine languages and our translators have asked, uh, as you continue, if you could just slow down on your answers a little bit. There's a little, uh, smoke.


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[Assistant] So the way we're gonna do this is, we are, as you asked,


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[Assistant] We're going to take, uh, questions, uh, both online from our streaming group and, uh, we have close to 800 that are jo- that are joining us from over 40 countries around the world.


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[Assistant] Hey Bart, thank you so much. We do have a lot of questions that have come in from our streaming students. So we've been collating those and I've chosen a few. Many of them have been duplicates, but before we get to that,


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[Assistant] Uh, Jay Z asked if you would, on her behalf,


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[Assistant] She asked you about what your belief, your persuasion was, uh, that you shared earlier this evening. Would you be willing to share that with our school and explain why?


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[Assistant] Uh, from the world, our first question we have is from Dominique Gum. She's writing us tonight, actually in the morning over there in Barcelona, Spain.


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[Assistant] She says, uh, Jesus had a son named Marcus, did he? And is this the one that we call Saint Mark the Evangelist?


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[Assistant] In your discussion that all Christians think that God wrote the Bible and she would like for you to explain about that. And uhm, who do you, uh, think, uh, handled that?


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[Assistant] And she also asks, would you be willing to discuss your concepts with the book of revelations by Saint John in particular at the end of the book?


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[Assistant] And this is our last question for tonight. This is from Rachel Norton. She's writing us from Down Under in Australia.


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[Assistant] She says first of all, thank you for your great presentation. She asks, uh,


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[Assistant] Is, after all of your research into the gospels and the history of religion, what is your overview of creation and the spiritual realm?


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[Assistant] Haha! That'll teach you to mess with me! Once again, I saved Wutai!


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[Assistant] Up ahead, you have to catch Hollander. And Geo is waiting for you.


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[Assistant] Will be fine. Concentrate on catching Hollander.


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[Assistant] When the soul leaves the body, it returns to the lifestream.


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[Assistant] And? Controlling copies from the lifestream?


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[Assistant] Just a supposition. In any case, your vacation's over.


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[Assistant] Come with me. Junon is under attack by an unknown force.


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[Assistant] Hollander has top secret information. The president says he's priority one.


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[Assistant] With Director Lazard absent, Soldier's chain of command is shaky at best. These attackers exploited that weakness. Zack, you're the only one who can move freely. You must secure Hollander.


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[Assistant] This area has mostly been cleared. We'll lock the gate and make this a place of refuge.


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[Assistant] The copies inside Midgar have mostly been eliminated by them.


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[Assistant] Turks take care of Turk business. If you want to go play with Aerith, you're welcome to do so.


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[Assistant] So now that we've gotten a introduction to HTML, I want you to put everything you've learned together in order to create a new project.


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[Assistant] So the project that we're going to be building today is called the Favorite Movie Project. It's going to be a website to keep track of all of your favorite movies that you've watched.


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[Assistant] When you go to RogerEbert.com, he is one of the greatest film critics of all time, in fact. He's passed away now, but he's got movie reviews and ratings for all the movies that he's watched, and you can see that when you go to his website.


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[Assistant] I think this is a really great way of keeping track of what you've watched because when friends ask me for recommendations, I can never remember what it is that I've watched in this year that I really like, uhm, and what to recommend.


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[Assistant] So what we're going to be building today is a very simple website. It's going to be a website that tracks your favorite movies, maybe of all time, maybe of the last year, whatever you want to do. And the requirement is you should have at least three movies that you put in here.


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[Assistant] So what you're going to need is to create a H1 as the title.


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[Assistant] Of the website and then you're going to have an H2.


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[Assistant] As the subtitle and then you're going to have a horizontal rule as your void element in there.


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[Assistant] And then you're going to have three movies that you're going to list and they're all going to be created using the H3 element.


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[Assistant] And then finally you should have a section which is going to be a paragraph, um, element that's going to describe why you liked those movies.


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[Assistant] And this is basically a very simple format for this website. Now, feel free once you've done all of this to continue to mod this website, to change it up, to add things, add break elements, whatever it is you want to do. But at the minimum, I want to see all of these elements represented on a page.


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[Assistant] And of course, feel free to add your own movies and I would love to see in the Q&A a picture of your website to see what it is that are your top movies and maybe I'll get some inspiration for the next time when I have movie night and I can't figure out what to watch. So I'm curious to see your recommendations as well.


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[Assistant] So go ahead and download the movie ranking project zip file from this lesson's course resources. If you don't know how to do that, again, go back to one of the first videos in the course at the very beginning of section one, where I showed you in a video how to download course resources.


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[Assistant] And once you've unzipped it and extracted it, then open it up in VS code and go ahead and code to your heart's content using everything you've learned. Pause the video now and give that a go.


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[Assistant] Now let's go through the solution. In my case, I'm going to have an H1 at the top, which is going to be the title. So, uhm, top movies of all time according to Angela.


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[Assistant] And then afterwards I'm going to create a subtitle, which I will write my best three movies.


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[Assistant] And then after that, we were going to add a horizontal rule to separate this part from the actual content of our website.


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[Assistant] And I'm going to create an H3 to represent each of the movies I'm going to recommend. So I'm going to recommend, uh, Spirited Away, which is one of my favorite animes.


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[Assistant] And I'm going to use a paragraph tag to describe a little bit about why I like it. So I'm just going to call it favorite anime.


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[Assistant] And I really liked it because it's a really cool sci-fi movie.


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[Assistant] And then finally, the third one is going to be.


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[Assistant] Uhm, the movie Drive with Ryan Gosling because it was, uhm, really beautifully shot.


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[Assistant] This is the basics of what you would need to have done for this project. It has all of the elements that were required.


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[Assistant] And you can see in the goal PNG, but it's got all the things that we've described. Even if the text is a little bit different, of course it won't be according to Angela for you. It'll be according to your name and.


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[Assistant] Now that you've done that, feel free to add different things in here as you would want. Maybe add a bit more to the paragraph tags. Maybe add a poem about your favorite movie. Go crazy, try out things and share in the Q&A your project as a screenshot.


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[Assistant] If you don't know how to do a screenshot, be sure to, be sure to type that into Google. How do I create a screenshot? And then you can add it into the Q and A. We can all look at your favorite movies and be inspired. So I hope you enjoyed building the project together and in the next section,


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[Assistant] We're going to dive a little bit deeper into some more intermediate aspects of HTML. So for all of that and more, I'll see you there.


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[Assistant] Hey guys, so my name is Julian Hocknar, I'm originally from France and Japan. Spend a lot of time in both countries.


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[Assistant] I did my undergrad at Marist College on the Hudson Valley in New York. Uhm, did my, you know, undergrad in finance.


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[Assistant] Then started working, you know, as an analyst for an equity and fixed income research firm.


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[Assistant] And was involved in a couple real estate deals, then from there moved to a alternate investment firm.


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[Assistant] Where I was mainly working on couple real estate, kinda like alternate investments. And that's when, you know, my boss...


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[Assistant] Kind of entertain the fact that maybe you should, you know, consider going to get a master's in real estate. So I looked around and saw that Shaq was really kind of like the best program out there.


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[Assistant] And another reason why I played is because they didn't require the GMAT.


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[Assistant] Which was very helpful just because of the fact that, you know, I'm not a big fan of studying for tests and exams. So I applied, got in, and probably one of the best decisions I was able to make.


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[Assistant] For TLOA Mortgage, which is a lending platform as a commercial loan officer.


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[Assistant] I think it really depends on person by person basis where if you know from the get go, this is what I want to do, then by all means, you know, take advantage of the fact that you already know where you want to go towards and, you know, don't waste time. But on the other hand, if you need, you know,


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[Assistant] A year, three years, five, ten, twenty years to really understand that you want to specialize in a specialty like real estate, you know.


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[Assistant] By all means, like, take your time. Discover other, you know, industries. Like, we all know people, classmates and colleagues that, that, that's on their second or even their third career.


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[Assistant] So I don't think, you know, there is neither a pro or a con to starting early or late is, you know, what I think.


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[Assistant] One of the reasons, one of the main reasons why I chose this program.


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[Assistant] Our teachers is great value just because of the fact that they bring in their real lives, real life experiences instead of having a professor who's all theoretical.


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[Assistant] I think there's two completely different aspects of, you know, teaching is one theoretical and one actual real, like, you know, taking information from real life experience. And I think


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[Assistant] You know, that's why Shaq has so much value and why we do have a lot of part-time professors.


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[Assistant] My two cents on it. So one of the questions, how many students are in a class?


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[Assistant] And I think this is another point that makes track such a great program is the biggest class that I've been in was I think 25 students with.


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[Assistant] One professor and that is by far the biggest and I've been in a class as little as fifteen.


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[Assistant] So you really are able to get the professor's attention. Not only that, you get to have like a personal relationship with them, meaning that, you know, you raise your hand, they're gonna, you know, they're gonna call on you. You have a question, you send them an email, they're always gonna be very responsive.


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[Assistant] Uhm, the one class that I can think of that was in a bigger class setting was the capstone, which is your final project class. But other than that, you know, always in a small class setting. And when it comes to how I plan my schedule,


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[Assistant] You know, I was a full-time student, but I was also working full-time. And so what I did is I...


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[Assistant] Kind of full-time, semi-full-time, uhm, because I would block off two days during the week and I would stack all my classes during those two days so that I can work full-time the days I was in school. So I kind of manage my class schedule like that, you know, in creative ways.


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[Assistant] What's great, another thing that's great is you do have options. You have options, take night classes, day classes, and it's not like, you know, for, if you are going to take this one class, you're, you're bound to this one time. You have options. So that's another great thing.


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[Assistant] I was gonna say, I'm pretty sure that out of the five in this panel, you know, all of us have actually


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[Assistant] I mean, culture shock for me. So I've, I've personally never lived in Manhattan. I was, I was living outside of Manhattan in Westchester County in White Plains. So people were always saying that I was a commuter. But that being said, I mean, I've been, I lived most of my life in the States. I did my undergrad. I lived, you know, growing up in LA.


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[Assistant] Uh, and for me, you know, I like food and biggest culture shock by far was food. Uhm, but that being said, you know,


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[Assistant] You can find the, you know, any sort of food in the, in the city. So like that was quickly, you know.


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[Assistant] Yeah, so for me it was, you know, I graduated undergrad and was looking for my first job and I went, I lived where my first job was, which was White Plains.


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[Assistant] Uh, I actually worked out of Valhalla.


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[Assistant] That's an interesting name for a city, which is, you know, right next to White Plains. White Plains is like the next, I mean, I would consider it the next big hub.


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[Assistant] After, uh, New York City. And I just liked it there because, you know, train of life is a lot easier.


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[Assistant] Uh, you have a lot more space than in the city and it costs a lot less. And the commute, you know, I take an express train, it's 35 minutes into Grand Central. And campus is two blocks away from Grand Central.


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[Assistant] So that's kinda like why I ended up not living in the city.


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[Assistant] Uhm, and you know, first place I found, I talked to a local broker, showed me a few places and decided there.


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[Assistant] Uh, to help me, you know, visit places. If not, you have great websites like Zillow, Trulia, et cetera, to find apartments. Um, you know, yeah.


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[Assistant] So the one downside of living outside is train hours. So for example, if you go to a networking or if you just go out, you know, Friday or Thursday night after class and you're like, we've done a good job. We, we had a good test or whatever it may be. Let's go out for a drink.


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[Assistant] You know I knew very well that my last train to go back home was at


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[Assistant] Yeah, and I think the most important thing is live within like three to five blocks at most of a subway station. I think that is key.


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[Assistant] You know, I did my CPT my last semester because I only had one class, which was the capstone class.


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[Assistant] And at the same time, it allows you to get work experience outside the classroom, you know, actual work experience and the added bonus is that legally, you know, you can get paid.


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[Assistant] Uhm, so CPT allows you for a semester to take technically an internship class.


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[Assistant] And get paid, uhm, while the OPT is optional practical training, I think, don't quote me on it.


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[Assistant] To be able to get work experience. So typically there's very little restrictions as long as


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[Assistant] So that's kind of like the only restriction and it's typically, you know, fairly easy to get and to get, to get the OPT. Now the hard part is to get the, you know, the internship or even the job to be able to do your OPT. So that's a whole different question and I'm sure everybody has their story on that.


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[Assistant] Before being able to, or, you know, you still have to always apply for it, because it is technically a governmental program.


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[Assistant] So most, you know, OPT, CPT, everything is done through Shaq because at the end of the day, our student visa is through Shaq.


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[Assistant] Like reliable for what you do. So that's why you have to meet with an, uh, like an international student advisor when you do a gear application as well.


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[Assistant] Yeah, and that's another thing. So it is a, it is a class that you're taking and then you're using that credit to intern. So what that means is that you have to ask a professor to be your, you know, your internship professor and you have to actually write a academic paper for that internship.


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[Assistant] Your paper and then you have to make it an academic. So, you know, technically it's not for you to


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[Assistant] You know, it is for you to get work experience, but it's also an academic tool where you have to write an intelligent paper out of it.


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[Assistant] I went to a networking event where I was invited as a recent alum for my undergrad school.


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[Assistant] You know, I've got my masters, I'm working, et cetera, so.


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[Assistant] And I brought, I think about 15 business cards and of the 15, zero.


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[Assistant] Like reached out and like followed up and I thought that was extremely unfortunate because, you know.


[User] Please transcribe this text

[Assistant] What can I do to better myself so that I can reach out to the next person, keep touch with them and see if there's any relationship that you can, you know, make out of it.


[User] Please transcribe this text

[Assistant] Yeah, I think it's more networking tip than anything is when you, you know, talk to someone, you tell them your story.


[User] Please transcribe this text

[Assistant] I think one thing that's really important is kind of like tell them or convey to them what you're looking for. What are you trying to get out of it, right? So the internship I received


[User] Please transcribe this text

[Assistant] Or the internship I did for my CPT, my last year of my master's program.


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[Assistant] The mother of a, you know, the student that I was tutoring, so I was talking to the mother and I was telling her, you know, I'm like, uh, I'm looking for an internship in real estate, et cetera, et cetera, and kind of like telling her what I was looking for and she's like,


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[Assistant] So you never know who you're gonna meet, who you're gonna be sitting across the table or in line, you know, at a conference waiting for food. Be open and.


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[Assistant] Tell them your story and you know, make sure to tell them what you're looking for.


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[Assistant] Because if they're engaged with you, they might try to find ways to help you.


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[Assistant] You know, I couldn't stress it enough, just networking.


[User] Please transcribe this text

[Assistant] Like your address book has its own value, right? So knowing who you know.


[User] Please transcribe this text

[Assistant] So I would say, you know, any chance you get to go to a networking event, going to a conference, even if it's something you know nothing about, learn. You know, you might learn, get something useful out of it and don't be shy to talk to, you know, the person next to you. Never know who you're going to meet.


[User] Please transcribe this text

[Assistant] And in some cases, you know, you might get friends, you might make additional, um, additional connection, but yeaah.


[User] Please transcribe this text

[Assistant] I would say there's two things. There's networks, so in your classroom setting, say hi to a new person every class.


[User] Please transcribe this text

[Assistant] You can't find it anywhere else, so get out of your comfort zone, be uncomfortable, and meet people.


[User] Please transcribe this text

[Assistant] Yeah, so, you know, taking a step back in terms of career path after Shack.


[User] Please transcribe this text

[Assistant] Was on the equity side working for a private equity firm, uhm, on their capital markets and investment team.


[User] Please transcribe this text

[Assistant] Uh, in Connecticut. So, you know, I, luckily, I mean, at such a young age and so early in my career, I've already have two feet, you know, in both the equity and debt side and get that, getting that exposure. So I think at the end of the day, it really is of what you want to do and what, how you decide to like pursue it.


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[Assistant] Ah, there you are. Now, let us begin the experiment. Huh? Experiment? Me? Never mind. Just make your way to the training room.


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[Assistant] You wouldn't understand it if I told you anyway. But...


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[Assistant] I want to verify the virtual data gathered from a soldier operative's combat results.


[User] Please transcribe this text

[Assistant] You are going to help me validate my data by participating in a simulated combat scenario.


[User] Please transcribe this text

[Assistant] Defeat this sample and prove my greatness to the entire world. Did you say something?


[User] Please transcribe this text

[Assistant] No, nothing. Now we begin.


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[Assistant] Ha ha ha ha. To make such a bold claim, you need to provide more solid data.


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[Assistant] Fight this next monster and prove your superiority to me.


[User] Please transcribe this text

[Assistant] Against these new settings, you will be... Say again?


[User] Please transcribe this text

[Assistant] Oh, nothing. Now, let's begin.


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[Assistant] Second rate soldier, maybe. No, third rate. If you truly are first rate, then fight my next data. Prove to me that you can win.


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[Assistant] Not everyone can become an elite warrior like Sephiroth. Huh? What? Oh nothing. Now, let's begin.


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[Assistant] Ah, magnificent. It appears that you have the talent to become a fine study sample.


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[Assistant] Not really a talent I want. You should be proud.


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[Assistant] Extra special program?


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[Assistant] It would be a worthy opponent for a first-rate operative. Such as yourself.


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[Assistant] Prove my greatness to the entire world!


[User] Please transcribe this text

[Assistant] I formulated a new hypothesis.


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[Assistant] You and I will share a special relationship. Did you hear me?


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[Assistant] In the name of God, the most beneficent, the most merciful.


[User] Please transcribe this text

[Assistant] Respected elders and my dear brothers and sisters, Assalamu alaikum.


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[Assistant] I don't know where to begin my speech. I don't know what people would be expecting me to say.


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[Assistant] To every person who has prayed for my fast recovery and a new life.


[User] Please transcribe this text

[Assistant] I cannot believe how much love people have shown me.


[User] Please transcribe this text

[Assistant] Who have helped me to get better and recover my strength.


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[Assistant] I fully support Mr. Ban Ki-moon, the Secretary General, and his Global Education FAST initiative.


[User] Please transcribe this text

[Assistant] On the 9th of October 2012, the Taliban shot me on the left side of my forehead. They shot my friends too.


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[Assistant] That I have learned from Gandhiji, Bacha Khan and Mother Teresa. And this is the forgiveness.


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[Assistant] That I have learned from my father and from my mother.


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[Assistant] Pakistan is a peace-loving democratic country.


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[Assistant] Innocent and poor children are victims of child labor.


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[Assistant] Racism and the deprivation of basics, basic rights.


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[Assistant] I'm focusing on women's rights and girls' education because they're suffering the most.


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[Assistant] We call upon our sisters around the world to be brave.


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[Assistant] That millions of children are out of their schools. We must not forget.


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[Assistant] That our sisters and brothers are waiting for a bright, peaceful future. So let us wage.


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[Assistant] So let us wage a global struggle against illiteracy, poverty and terrorism. Let us pick up.


[User] Please transcribe this text

[Assistant] It's very early, and very comfy up here in my tray.


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[Assistant] Too many to carry up the tree, all by myself. Oh, I know.


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[Assistant] I'm collecting as many acorns as I can. They're ripe now.


[User] Please transcribe this text

[Assistant] That might have been just a little too high. Where is it?


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[Assistant] Nuts that are a little bit like seeds. Little grey squirrels love to eat them. They grow right here, on the ground? No, they grow up there.


[User] Please transcribe this text

[Assistant] A little brown shiny thing. The cases protect the nuts until they're ripe and ready to eat.


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[Assistant] What a surprise! And what a great disguise! I want a disguise too! Whee!


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[Assistant] I didn't really eat it. That would be yucky. Are you coming, little grey squirrel?


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[Assistant] Spotted acorns are my favorites of favorites. Oh do come little grey squirrel. It will be much more fun with three. And we'll help you when we get back.


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[Assistant] Please? I suppose it's safe to leave them here.


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[Assistant] And behind every bush defines them. You will?


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[Assistant] You will go that way to the far end of the meadow and work your way back to here. Great idea! Let's go! Good luck little redwood fox. Thank you for helping me look for my acorns.


[User] Please transcribe this text

[Assistant] Thank you little redwood fox. I'm sorry I wasn't being a very good friend. That's okay, you are now. Well I'd like to make it up to you.


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[Assistant] I have another surprise! Another surprise? I was bringing the spotted acorns back to you.


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[Assistant] You exemplify one of the tenets that we hold dear in our mission, that is to develop students who are culturally aware and concerned with the human condition. You have demonstrated this through your work and your focus on health, nutrition, and the environment.


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[Assistant] Your work with military families reminds us of our responsibility to care for those who make personal sacrifices so that we can live and enjoy peace and freedom in the greatest country on earth.


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[Assistant] A role model for young women in America, especially little black girls. And while as a people we respect your great intellectual acumen, we love your dress game.


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[Assistant] Therefore, on recommendation of the faculty and with the approval by the Dillon University Board of Trustees, I confer upon you the honorary degree of Doctor of Humane Letters, honoris causa, with all the rights, privileges, and responsibilities appertaining thereunto.


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[Assistant] Alright, so now it's time for our final project of the section. And in this project, we're going to be building a website to help you learn Spanish.


[User] Please transcribe this text

[Assistant] Now you might already know Spanish, but I'm currently learning Spanish and there's so much vocab to get through. I thought, why don't we build a vocabulary flashcard website, but a really, really simple one using everything we know so far.


[User] Please transcribe this text

[Assistant] In this project, we're going to be creating a website where we list the words in, well, in this case in Spanish, it could be any other language you choose. And we're going to match it with an image of a particular color so that we learn all the colors in our foreign language.


[User] Please transcribe this text

[Assistant] This is what the final website should look like. We've got our word, which is foreign, in the color that matches the image.


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[Assistant] And we've got our images all lined up as nice little squares so that we can scroll through this website and learn the words for the colors in Spanish.


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[Assistant] Once you're ready, go ahead and download the color vocab project starting files, extract it and open it up inside VS code.


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[Assistant] In the index dot HTML, you'll see that I've already set you up with some starting code. If you go ahead and show it as a preview, you'll see some words for the colors in Spanish.


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[Assistant] And the different images for the different colors. Now don't worry about the fact the images are all different sizes. We're going to fix that with CSS very soon in the project.


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[Assistant] First thing to note is we've already set you up with a link to an external style sheet, which is inside style.css. But notice that we haven't created that file for you. So I want you to create a new file.


[User] Please transcribe this text

[Assistant] Inside the correct location by using this button in VS code and then name it once you've created it so that it actually works and one of the things that I often check to make sure that my external CSS is linked up


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[Assistant] Is to target everything on the page and to set the background color to red.


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[Assistant] That way you know that if it actually does work, then it's linked up correctly and it's really obvious when it doesn't, like right now.


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[Assistant] And the reason here is because my style.css is actually outside this folder. It's just floating about somewhere and I have to get it so that it's at the location that I specified in the external style sheet link.


[User] Please transcribe this text

[Assistant] So I don't want you to change anything inside the index dot HTML. Instead, all of your work is going to happen inside the CSS file, which you will create


[User] Please transcribe this text

[Assistant] And you will incorporate into your project using this file path to make sure that you understand how file paths work and how you can create this for yourself in the future.


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[Assistant] Now, if we scroll down, you can see there's five different colors, five different images, and there are some H2s and H1s.


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[Assistant] In order to complete this project, I've created some steps for you in the to-dos, which you can follow. Alternatively, you can simply look at the goal image and try to figure out yourself.


[User] Please transcribe this text

[Assistant] You can either use a stepwise approach in the to-dos or you can use the goal and do everything yourself. It totally is up to you.


[User] Please transcribe this text

[Assistant] But what you're aiming for in the final version of the website, which you can view by right clicking on solution.html, opening it up in the preview,


[User] Please transcribe this text

[Assistant] And the most important things I want to point out is that the images are squares. They are 200 pixel by 200 pixels. So 200 pixel high, 200 pixel wide.


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[Assistant] Secondly, the font weight of these H2s are different from normal H2s. They're actually a lot lighter, so we've set the font weight to be normal rather than the default, which is H2s get bolded.


[User] Please transcribe this text

[Assistant] The next thing is that the color of the text should match the meaning. So rojo means red, azul means blue. And because in our index.ihml, I've matched each of them up together. But also you can look at the IDs if you don't know Spanish words, because.


[User] Please transcribe this text

[Assistant] We're learning them after all, right? So yellow is amarillo, green is verde, and so on and so forth. So I want you to make sure that these H2s have a text color that matches whatever it is supposed to be. So blue, orange, or green, or whichever.


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[Assistant] So if you get confused, look at the goal.png. If you want to go step by step, then look at the to-dos at the bottom. But importantly,


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[Assistant] Don't write anything or change anything in the index.html or your work goes into the CSS file. Pause the video and give this a go now.


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[Assistant] Alright, so let's run through the solution together. So the first thing we're going to do is we're going to make sure that the solution folder is collapsed so it's not confusing.


[User] Please transcribe this text

[Assistant] And then we're going to select this folder and then add a new file, which I'll call style.css.


[User] Please transcribe this text

[Assistant] Remember the file name has to match what it's referred to here exactly. Sometimes you'll see people have styles.css, sometimes you'll see main.css, but as long as the file name matches, it doesn't really matter. It's up to you how you want to name it.


[User] Please transcribe this text

[Assistant] Once I've created that, let's just make sure that my CSS file is properly linked up by doing that background color change.


[User] Please transcribe this text

[Assistant] So let's change it to red and then let's go ahead and preview this. And if the background is red, then it means that it works. So I can now delete this and get rid of that horrible background.


[User] Please transcribe this text

[Assistant] The next step is to go ahead and use CSS to style each of the color titles so that the color matches the meaning.


[User] Please transcribe this text

[Assistant] The first one that we want to select is this H2, which displays rojo.


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[Assistant] And it has the ID of red. So remember IDs are unique, so we can simply select that. So let's select the element with an ID of red and set its color to red.


[User] Please transcribe this text

[Assistant] And so we can do the same thing for the rest of the colors. So now they're all matching with their meaning.


[User] Please transcribe this text

[Assistant] The next step is to UCSS to change all the color titles to have a different font weight. And this is what we want, the font weight of normal.


[User] Please transcribe this text

[Assistant] If we want to select all the H2s, then we're going to have a problem because this one is also an H2 and we don't want that one to have a normal font weight. We still want that to be bold. We want these to have the lower font weight.


[User] Please transcribe this text

[Assistant] So what is unique to all of these? Well, we've applied a class of color title to each of them, which this h2 does not have. Then that means that we can simply select color dash title.


[User] Please transcribe this text

[Assistant] And then apply the font weight to all of those with that same class. And you can see that differentiates between this H2 and this H2.


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[Assistant] And instead all of these, which are grouped together, have that style applied.


[User] Please transcribe this text

[Assistant] Now the final thing we need to do is to use CSS, no, not HTML, to make all the images 200 pixels high and 200 pixels wide.


[User] Please transcribe this text

[Assistant] How can we do that? Well, we can simply select the image element. So this is using an element selector and we can set the height to 200 pixels and the width to 200 pixels.


[User] Please transcribe this text

[Assistant] And there you have it. All of our images are now squares matching the height and width that we've specified.


[User] Please transcribe this text

[Assistant] You can of course change this and personalize it as much as you like, change up the colors or change up the words, learn the colors in a different language, make things even more beautiful using the styling that you've learned.


[User] Please transcribe this text

[Assistant] In the next section, we're going to be covering more about different CSS rules and you'll have more tools at your disposal in order to style your websites.


[User] Please transcribe this text

[Assistant] So I hope you have fun in this section where we introduce you to CSS. Once you're ready, maybe tomorrow, maybe the next day, head over to the next section and continue learning about intermediate aspects of CSS. For all of that and more, I'll see you there.


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[Assistant] Are you talking about Genesis? Indeed I am. A memento from a bygone era.


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[Assistant] You need not know of it. Soldier's duty is not to think. Just follow your orders and protect me.


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[Assistant] I thought you said I would have some visitors.


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[Assistant] Are you prepared to sacrifice your own life to protect this great intellect of mine?


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[Assistant] Don't lose against some failed project by a second rate scientist. Oh.


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[Assistant] The entire cast of Hollander's freak show. Shut up, you! Loveless, act four.


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[Assistant] Where the two friends challenge each other to a duel. An ancient epic.


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[Assistant] I read it thinking it might aid my research, but pure drivel.


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[Assistant] Well, whatever I guess. Whaaaaaaatever.


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[Assistant] If you put both feet in one hole, you'll fall over.


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[Assistant] We'll check in at each of its points, explain what all this algebra means, and go through the concepts behind it.


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[Assistant] We're throwing plenty of real-life examples, so if you're not familiar with Lacan already, or if, like me, you're turned off by Lacanian jargon, it'll still make sense.


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[Assistant] I'll also be putting all the quotations from Lacan on screen as we go through, so you can see what Lacan himself said about the graph of desire, and so that more hardcore Lacanians can follow up the references.


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[Assistant] Oh, and hit subscribe to see new videos as they're released, and check out more about Jacques Lacan and psychoanalysis on lacanonline.com. So, background and history first off.


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[Assistant] Almost everything from Lacan comes from his seminar, the collective name for the roughly 27 or so year-long series of courses he did from 1952 to 1980.


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[Assistant] Each seminar is devoted to a different topic and what you have in the decree is basically a 900 page condensation of all this material at around the midway point of Lacan's work in 1966.


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[Assistant] Now, Lacan develops his graph of desire throughout Seminar 5, from 1957 to 1958, which is on what he calls the formations of the unconscious. Why formations? What are they?


[User] Please transcribe this text

[Assistant] Formations, he says, are forms. Forms have relations to each other, and when we put them together they comprise a topology.


[User] Please transcribe this text

[Assistant] That's not exactly what we get in The Graph of Desire, but this is what Lacan tells his audience when he's wrapping up that seminar, and he says he didn't want to scare people away by talking about it at the start.


[User] Please transcribe this text

[Assistant] When the graph of desire gets condensed for publication into the decree, it's the paper, The Subversion of the Subject and the Dialectic of Desire, where we find its most succinct elaboration.


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[Assistant] That's what most people use when they reference a graph. So it's with that text that we'll explore it here.


[User] Please transcribe this text

[Assistant] That said, if you want a crystal clear walkthrough by Lacan himself of the graph, head to Seminar 5, specifically the later part of that seminar to get your head around it, and then maybe come back to subversion of the subject.


[User] Please transcribe this text

[Assistant] Now, the first thing to say about the graph of desire itself is that Lacan doesn't refer to it as a graph of desire anywhere in the Acre or in Seminar 5 when he spends months explaining it. He just calls it his graph.


[User] Please transcribe this text

[Assistant] It was Jacques-Alain Miller who popularised the idea of a graph of desire with his short commentary that we find at the end of the Air Cree. So, if it's not a graph of desire, what is it a graph of?


[User] Please transcribe this text

[Assistant] Well, in the first place, Lacan says it's a graph of what psychoanalysis shows us. The practical structure of the data of analytic experience.


[User] Please transcribe this text

[Assistant] But it is about desire, insofar as Nacon says it shows, where desire is situated in relation to a subject defined on the basis of his articulation by the signifier. More on that in a moment.


[User] Please transcribe this text

[Assistant] Second thing to say is that, as Millaire correctly notes, they are graphs, not just one graph. Four to be exact, and we'll walk through each of them.


[User] Please transcribe this text

[Assistant] While the later forms of extensions of the earlier ones, Lacan uses them to elaborate different ideas. So we'll treat them like a ladder, the comparison Lacan uses, and take them step by step.


[User] Please transcribe this text

[Assistant] So, this is what Lacan calls the elementary cell of the graph desire, graph one. And we have four points.


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[Assistant] Our starting point is this little triangle here, and the trajectory takes us through to the Bardes Lacan symbol for the subject.


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[Assistant] The subject is not the individual, not the person, not the ego, but it is human subjectivity.


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[Assistant] And we should hear in this term subject the implication subject to.


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[Assistant] This is why Lacron describes the subject as a function.


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[Assistant] Lacan takes a pretty dim view of psychology, calling psychologists philistines, referring to its lowly purpose of social exploitation, and most cuttingly saying that psychologists just do a judicial astrology.


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[Assistant] What's wrong with psychology is its criterion is the unity of the subject, he says. Hence why the subject here, S, has a bar for it.


[User] Please transcribe this text

[Assistant] Lacan's dismal view of psychology is repeated throughout his work. And on lacanonline.com, you can read more in my article, What does psychoanalysis have to do with psychology? Here, in subversion of the subject,


[User] Please transcribe this text

[Assistant] Alongside criticisms of psychology, Lacan throws in criticisms of the reduction of subjectivity to consciousness, or states of consciousness, even if they are higher forms of consciousness like the degrees of Samadhi in Buddhism, the trips and highs of hallucinogenic drugs, or the states of enthusiasm described by Plato.


[User] Please transcribe this text

[Assistant] Lacan's point, in short, is that no matter how much you meditate, you're still gonna be a divided subject.


[User] Please transcribe this text

[Assistant] If you want to know more about the effect of the signifier, check out my videos on what's so unconscious about the unconscious and my series on repression.


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[Assistant] Here I'm gonna flash up some quotations from Lacan for those who appreciate the references to illustrate how fundamental the effect of the signifier is in the construction of human subjectivity.


[User] Please transcribe this text

[Assistant] A signifier could be a word or part of a word, but one which is unhinged from any particular meaning, any fixed representational reference, and which thereby refers only to other signifiers, denoted here by S' rather than to a particular meaning or signification.


[User] Please transcribe this text

[Assistant] This assemblage of signifiers taken together as a structure is a key component in language. Language as a formal structure rather than any particular language like English or French.


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[Assistant] As a whole, this is sometimes loosely referred to as the symbolic, the symbolic register or the symbolic order.


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[Assistant] Lacan is saying that from the very start of our lives, indeed even before our births, we are fucked by the symbolic. And once you're fucked, you can't get unfucked.


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[Assistant] So, notice that in the graph, this elementary cell of the graph, we begin with the barred subject. There is no entry point into language. You are already conditioned by language.


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[Assistant] Notice also here how the barred subject sits between two signifiers.


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[Assistant] This is why Lacan says that the signifier represents the subject for another signifier. In the same way that a lawyer represents her client for another lawyer, or an ambassador represents her country for another ambassador.


[User] Please transcribe this text

[Assistant] Lacan's suggestion is that Freud had some intuition about this when he described how the unconscious worked.


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[Assistant] Before the arrival of modern linguistic theory, Freud talked about a primary psychical process, which was characterized by two mechanisms, condensation and displacement.


[User] Please transcribe this text

[Assistant] Lacan aligns these to two linguistic mechanisms, metaphor and metonymy.


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[Assistant] The lesson to be drawn from the book-length studies that Freud wrote on dreams, slips of the tongue, and jokes is that these all show how unconscious processes are at work which exhibit these same essentially linguistic mechanisms. Hence Lacan's most well-known maxim, the unconscious is structured like a language.


[User] Please transcribe this text

[Assistant] The unconscious is therefore a totally different form of psychical reality to consciousness.


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[Assistant] The unconscious is not a non-consciousness, not the negation of consciousness as he refers to it here.


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[Assistant] Consciousness, he says, is obsolete to us in grounding the unconscious.


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[Assistant] What kind of subject do we mean, then, by subject of a linguistic unconscious?


[User] Please transcribe this text

[Assistant] Lacombe makes a distinction here between the subject of the statement and the subject of the enunciation. What do I mean when I say I?


[User] Please transcribe this text

[Assistant] And here we have the deferral of signification along a chain, on which more later. But what about a sentence like, I am lying? Is the speaker lying or is he telling the truth?


[User] Please transcribe this text

[Assistant] Lacan uses this example because he says we can only understand it as non-paradoxical if we split the sentence into I,


[User] Please transcribe this text

[Assistant] And make a distinction between the subject of the statement and the subject of the enunciation.


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[Assistant] So, is the subject lying or is he telling the truth?


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[Assistant] Lacan's answer is that he is telling the truth via his lie. At the level of the subject of this statement, he is lying.


[User] Please transcribe this text

[Assistant] At the level of the subject of the enunciation, he's telling the truth about that lie.


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[Assistant] The subject of the enunciation can be understood as the subject of the unconscious.


[User] Please transcribe this text

[Assistant] It's a subject that emerges from within our speech, through our signifiers, and which differs from or contradicts the eye of the statement.


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[Assistant] Lacan calls the subject of the enunciation, the subject not insofar as it produces discourse, but insofar as it is produced, cornered even, by discourse.


[User] Please transcribe this text

[Assistant] What Lacan is getting at is the fact that the subject is not quite the agent of what he says. As much as he speaks, he's spoken.


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[Assistant] The words that he uses carry a meaning which exceeds the one he hoped to convey when he opened his mouth.


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[Assistant] And it's through the act of enunciation that we have access to the unconscious in the psychoanalytic sense.


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[Assistant] This is why Lacan says that the presence of the unconscious being situated in the locus of the other can be found in every discourse in its enunciation.


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[Assistant] Separating out these two subjects in speech can also help us understand how Lacan's famous maxim, that the signifier represents a subject for another signifier, refers to exactly this split between the speaking subject that enunciates words or signifiers and the eye of the subject of the statement.


[User] Please transcribe this text

[Assistant] As Lacan says, what the unconscious brings back to our attention is the law by which enunciation can never be reduced to what is enunciated in any discourse.


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[Assistant] In other words, an unconscious production is one in which you don't recognize yourself in what you've actually said.


[User] Please transcribe this text

[Assistant] This is an experience well known to anyone who's undertaken a psychoanalysis, but let's take a more everyday example. Advice. What's going on when people give advice?


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[Assistant] Two salesmen are in a bar discussing work and the deals that they're expecting to close in the coming weeks.


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[Assistant] One boasts to the other that he's very confident on sealing a deal in the near future, and he's planning to commit to his boss that he will get it signed before the end of the month.


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[Assistant] His colleague jumps in with some words of advice given in the strongest possible terms. Never commit, never commit, he says.


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[Assistant] These words might be taken as nothing more than sage advice for the men not at this particular bar on this particular evening to celebrate the colleague's engagement to his fiancé.


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[Assistant] With the words never commit, we can wonder what commitment was being warned against, and therefore who the advice was aimed at.


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[Assistant] What Lacan says in his Seminar 9 on identification can tell us what's going on here.


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[Assistant] By this very fact in the enunciating, Lacan says, he, the colleague in our example, elide something which is properly speaking what he cannot know. Namely, the name of what he is quay enunciating subject. In the act of enunciating, there is this latent nomination.


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[Assistant] We never find the unconscious expressed with the first person pronoun.


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[Assistant] Rather, unconscious thoughts, desires and fantasies are often voiced through an annunciation which is ostensibly intended for someone else. So when we receive advice, we should always ask, who is this more relevant to? Me, or the person giving it?


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[Assistant] This is what Lacon calls the inter-set. Enter deep.


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[Assistant] It is the very place at which the transparency of the classical subject divides, he says. And this is one of the reasons he calls the title of this paper in the Akri, the subversion of the subject. So, back to graph one, the elementary cell. Think of it as like a button tie, Lacan says.


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[Assistant] Beginning on the left, we have two signifiers, S and S', which represents the signifying chain.


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[Assistant] The signifier, Lacan says, stops the indefinite sliding of signification. What does this mean?


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[Assistant] Take the example of the phrase, the weed is.


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[Assistant] How we finish this sentence with a further signifier will determine retroactively its signification.


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[Assistant] Getting me high produces a different meaning effect than getting too high.


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[Assistant] One might refer to smoking a joint, the other to gardening. One refers to me, the other refers to a plant.


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[Assistant] How we end the sentence determines how we understand its beginning and how we position ourselves relative to it.


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[Assistant] Two identical bathroom doors, behind which are presumably two identical bathrooms. The only thing that determines their difference is the signifiers. Gentlemen, ladies, above them.


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[Assistant] The point Lacan is making is that the difference lies not in the thing, the signified, but in the signifier, ladies and gentlemen.


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[Assistant] We know that young children have grasped this when they start making signifying substitutions in their use of language.


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[Assistant] The example Lacan gives here is when a child says that the cat goes woof woof and the dog goes meow, referring to the properties of things in a way that presents them as exchangeable, that one thing can stand for another and that these two things are not inherently fixed to a given referent.


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[Assistant] Graph 1 presents the subject as caught in the loop of the signifier's passage.


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[Assistant] As we said earlier, the little triangle at the bottom right is the starting point of our journey through this graph, what Pont-Alice calls in his write-up of Lacan's Seminar 5, that by which the human subject, in its essence as problematic subject, is situated in a certain relationship with the signifier. What does this mean? Let's take another example. A man complains of two problems.


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[Assistant] First, he thinks he's too skinny, and so he eats large portions of high calorie food in an attempt, he says, to gain weight. Second, he suffers from insomnia.


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[Assistant] When I ask what it is that keeps me awake, he says, some things in my life have a lot of weight. The same signifier in different contexts.


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[Assistant] When we say someone is unconscious of something, we shouldn't think that they've repressed it in the sense of pushed it down into the unconscious.


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[Assistant] It's simply that they don't see the link between two things in different contexts. In our example, the connection between the man's eating habits and his insomnia.


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[Assistant] Remember that when we ask someone to describe some aspect of their life, they could say whatever they like.


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[Assistant] That they use the same term to describe two things which to them have no connection indicates to us that there may indeed be a link and that this link is worth exploring.


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[Assistant] But why does this vector run backwards, in a negatively oriented direction with the signifier's vector, as Lacan puts it?


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[Assistant] What's at work here is what Freud calls the effect of nachträglichkeit, translated by La Conne as apre coup and translated better by La Planche as afterwardsness.


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[Assistant] It's a crucial concept in psychoanalysis that Lacombe pulled out of Freud and which Laplanche built pretty much an entire career around.


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[Assistant] Unfortunately, in Strachey's translation of the Standard Edition, Freud's German is rendered as deferred action, which doesn't quite capture the subtleties of afterwardsness in English.


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[Assistant] We can also read this negatively oriented direction to refer to the way that the subject receives his message back from the other in inverted form. More on that later.


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[Assistant] A is autre, other, with a capital O. The so-called big other, because it's not an other, like another person, but instead what he calls the locus of the treasure trove of signifiers.


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[Assistant] In any network, it's not the input that matters, but the passage through just such a junction.


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[Assistant] In the same way that a train station is indifferent to the trains that pass through it, so the other has no subjectivity or intentionality in its own right.


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[Assistant] It's like the pure subject of modern game strategy, Lacan says. The preliminary site of the pure subject of the signifier.


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[Assistant] Like the traffic flowing through a junction at any one point, Lacan describes the other as the inscription of a combinator whose combinations may be exhaustively enumerated. It's the other of language, or the other of language in its otherness.


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[Assistant] So it's not the place where everything gets a meaning, like the key to the code, even if we might appeal to the other in order to find meaning.


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[Assistant] It's rather the space where speech and language are constituted.


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[Assistant] Because language, the words we use, can be distant or foreign to us even as we speak them. Even if we speak a particular language very well.


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[Assistant] We can think of the other as the site where language as a purely differential structure comes together.


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[Assistant] A network of signifiers that only make sense collectively, founded on binary opposition to each other like night and day, odd and even, or ladies and gentlemen in Lacan's analogy. Now, this only makes sense when we look to the left,


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[Assistant] A place rather than a space. The other is a moment, a punctuation rather than a narrative.


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[Assistant] So let's trace this line that runs from signifier on the left to voice on the right by thinking about how the infant negotiates its entrance into the symbolic order.


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[Assistant] The child is born into a signifying universe that precedes him and which divides him.


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[Assistant] A world of signifiers which in their brute, raw materiality are absolutely meaningless.


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[Assistant] The significations that are communicated to the child by the other, let's say from the caregivers incarnating for the child the other, are denoted by small s brackets a.


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[Assistant] But to the mother or caregiver, these significations are themselves alien, because their signifiers will always carry a signification of which they are unaware.


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[Assistant] This otherness is an aspect we see in the voice, which can be thought of as this signifying chain minus the effect of meaning, as Leda puts it.


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[Assistant] There's a great example of this trajectory and action in Freud's case history of little hands. Real name, Herbert Graf.


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[Assistant] This young child, four and a half years old, has just taken a bath and notices that when his mother dries and powders him, she takes care to avoid one special part of his body.


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[Assistant] Hans finds this odd and asks his mother why she doesn't want to touch it. Because that'd be pig-ish, his mother replies. What's that? Pig-ish? Why? Hans retorts. Because it's not proper, she snaps back.


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[Assistant] Notice how we have two signifiers that make no sense to Hans, pigish and proper, and they're given that signification by the mother even though she herself doesn't know where they come from or what they really mean. They are, in Freud's excellent term, presexual sexual.


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[Assistant] But it's great fun, Hans, for tests. Demonstrating how the register of language can be used as both a condition and prohibition of enjoyment.


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[Assistant] So let's trace the line that runs from the barred subject up and over the graph via the other to the significations from the other, s brackets a.


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[Assistant] And let's explain this with an example from another of Freud's case histories, that of the Ratman, real name Ernst Lanza. Ernst shared a memory with Freud.


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[Assistant] But, as he knew no bad language for it relates, he called him all the names of common objects that he could think of, and had screamed, you lamp, you towel, you plate, and so on.


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[Assistant] As Freud tells it, so shaken was the rat man's father by the fury of this outburst, that he stopped and declared, the child will either be a great man or a great criminal.


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[Assistant] Freud notes, the patient believed that the scene made a permanent impression upon him as well as upon the father. The beating stopped and never happened again.


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[Assistant] But the rap man attributed his later fear of violence and his own rage to this scene.


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[Assistant] In psychosis, we have something a bit different going on.


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[Assistant] Code messages and message codes separate out into pure forms in the psychotic subject, a subject who makes do with this preliminary other alone, Lacan says. What's he talking about?


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[Assistant] At the onset of psychosis, we find something that the German-Swiss psychiatrist Carl Jaspers called elementary phenomena.


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[Assistant] This was picked up by Lacan as early as his doctoral thesis on paranoia in the early 1930s.


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[Assistant] Blackhorn gives an example in seminar three of how this works. The subject sees a red car passing on the street.


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[Assistant] He doesn't know what this means, but he knows it means something and that this meaning pertains specifically to him. This is the appearance of meaning as such.


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[Assistant] Thus we run from the barred subject, via the image, to the presence of meaning as such.


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[Assistant] In psychosis, we might also find auditory hallucinations whereby the signifier is divorced from the signifying chain and thereby from any signification so we can understand the location of the voice here in this context too. So, what about these two?


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[Assistant] This is the image of or from the other. Notice the big other, as denoted by the capital A.


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[Assistant] And this is the image of or from the other. Notice the small a denoting the semblable, the mirror image.


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[Assistant] I brackets capital A is the point of the ego ideal, and I brackets small a is the point of the ideal ego.


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[Assistant] What's the difference? If the ideal ego is the person you identify with as the person you would like to be,


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[Assistant] The ego ideal is the point from which that image takes on a value.


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[Assistant] What Freud points out in chapters seven and eight of group psychology and the analysis of the ego from 1921 is that what's at work in identification is not a kind of mirroring.


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[Assistant] Not a specular immediate identification, but the support given to that identification.


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[Assistant] As Lacan puts it in his remarks on this in seminar 11, the ego ideal is the point from which the subject will see himself as others see him.


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[Assistant] Lacan introduces the ego-ideal with reference to what he calls the unary trait, a concept more crucial than Lacan scholars usually give it credit for.


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[Assistant] Again, it's an idea that has its heritage in Freud.


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[Assistant] In chapter 7 on identification in group psychology, Freud gives the example of his patient Dora, who imitated the cough of her father.


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[Assistant] In this case identification, Freud writes, has appeared instead of object choice. Object choice has regressed to identification.


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[Assistant] Dora's identification is not to a person as such, but to a particular trait of that person, which borrows what Freud, in German, calls ein einziger Zug, a single trait. Unuitrait is the term that Lacan uses.


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[Assistant] He talks at length about this in the seminars of the mid-60s.


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[Assistant] Halfway through Seminar 11, for instance, Lacan refers to how prehistoric cavemen would signify the killing of an animal they'd hunted by marking it off with a single stroke, perhaps on a cave wall or on their weapon.


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[Assistant] The killing of the animal is represented by a 1. And the subject counts his first kill as 1, 1.


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[Assistant] Each mark is a signifier, and Lacan's idea is that human subjectivity is essentially suspended in the gap between signifiers.


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[Assistant] But this doesn't mean that human subjectivity is some kind of effervescent antimatter or insubstantial pure lack.


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[Assistant] The subject is barred but not entirely swallowed by the other, a point that Lacan makes in Seminar 11 when he tells his audience that this single stroke, this ein einziger Zug, constitutes the subject at the level at which there is a relation of the subject to the other.


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[Assistant] First, because the idea from Freud is that when identification occurs via this single trait or characteristic, it's not a form of identification that's linked to a libidinal attachment or love interest in the person.


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[Assistant] The Einziger Zug simply provides what Lacan calls in Seminar 8, the sign of the other's ascent.


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[Assistant] It's the reference to the Ein Einzigerzug that gives the fantasy of the ideal ego its weight.


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[Assistant] The gaze of the other is internalized via ein einziger Zug as a sign. There is no need, as Lacombe puts it, for the whole organized field or for some sort of massive interjection.


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[Assistant] What this means is that a particular trait, an X, is valued by the other in some way, hence why it's a sign, it's something that has a meaning to someone, and in that respect gives the child a fixed point he can relate to amongst all the specular identifications and mirroring relations around him.


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[Assistant] So that all of the ideal egos that follow will depend on the ego ideal.


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[Assistant] The second reason we're dwelling on the unary trait is because it's a kind of a frontier concept between the imaginary and the symbolic.


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[Assistant] It's the object raised to the status of the signifier.


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[Assistant] It's not an imaginary representation of the object like a little sketch of the animal that's killed on a cave wall. It's simply a notch, a stroke or a mark.


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[Assistant] This is what Lacombe means when in 799, he says that the I9 zig-a-zug functions as a support for difference.


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[Assistant] It designates the paradox of radical otherness.


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[Assistant] This unitary trait can give to the subject a place in the symbolic order. It provides both a substantive presence and a singularity, a uniqueness that is the opposite of the pathological coincidence of self and other, which is a feature of the imaginary register.


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[Assistant] Now, notice that in graph 2, the ego ideal comes in the place where we found the barred subject in graph 1, the elementary cell of the graph. What's this about?


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[Assistant] Lacoste trying to present a retroversion effect by which the subject, at each stage, becomes what he was to be.


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[Assistant] A beautiful line from earlier in the decree may help us explain this.


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[Assistant] What is realized in my history is neither the past definite as what was, since it is no more, nor even the perfect as what has been in what I am, but the future anterior as what I will have been given what I am in the process of becoming.


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[Assistant] Packed into this dense little quotation, we find the idea of afterwardsness mentioned earlier.


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[Assistant] We also see notions of fate, destiny, repetition and transmission.


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[Assistant] And even though he says he won't talk about the mirror stage here, Lacan goes on to give it a more developed elaboration than the purely specular one that the theory received in his original 1936 Marienbad paper.


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[Assistant] In particular, here we get the idea of an anticipation of bodily mastery that is at the core of the mirror stage theory.


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[Assistant] In short, this is the idea that we identify with an image outside ourselves, an image which presents to us a model of corporal unity in order to achieve motor coordination and mastery over our own body.


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[Assistant] But that comes at the price of our fundamental alienation in the image of the other.


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[Assistant] Hence Lacan's line, there arises the ambiguity of a misrecognising that is essential to know myself.


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[Assistant] To explain this, we now have to trace the journey along the bottom quadrant of graph 2. The journey that goes from the barred subject to the ideal ego to the ego and to the ego ideal.


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[Assistant] Let's explain this vector running from the ideal ego to the ego a bit more. This is the image of the other.


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[Assistant] In order for the infant to achieve motor mastery coordination and to be able to identify its image,


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[Assistant] Why not? The image it sees in a mirror, as its own, it has to model itself on the image of another. This is how the ego is constructed.


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[Assistant] There is no other way to get to the ego except via the image of the other.


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[Assistant] This vector is at the level of the imaginary in Lacan, the realm of images. But as we can see from its connection to the ego ideal and the bard subject, it's not possible to separate off the imaginary from the symbolic.


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[Assistant] The fretful preoccupation with the image in the Instagram age shows this dynamic in action.


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[Assistant] We're ceaselessly harangued by images, images through which we see ourselves, but only at the expense of how others present their own image, that is, how they would themselves like to be seen.


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[Assistant] But for that Kong, the rivalry inherent in this imaginary dual relation has a really dark side.


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[Assistant] The ego is thus a function of mastery, but it's at the same time a game of constituted rivalry, he says, which casts a shade of hostility onto the other that can rapidly boil over into an intense, violent outburst.


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[Assistant] As we see in these passages from Subversion of the Subject, and in the Mirror Stage paper, and in his paper on Aggressivity, there's a rivalry inherent in the Imaginary Register.


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[Assistant] Anytime it's not mediated by a symbolic operator, whether that symbolic operator is inefficient or simply not present, Lacolle warns in no uncertain terms that it can become murderously violent.


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[Assistant] On the 30th of July 2008, a man called Vincent Lee boarded a Greyhound bus travelling from Edmonton to Winnipeg in Canada.


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[Assistant] He sat next to a 22 year old man named Tim McLean, who barely acknowledged him and fell asleep with his head against the window of the bus.


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[Assistant] Shortly after, Lee pulled out a hunting knife and began stabbing the claim.


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[Assistant] As the terrified passengers evacuated the bus, Lee began cutting off his victims head and dismembering him.


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[Assistant] With Lee locked aboard the bus, he brandishes McClean's severed head to the passengers and begins to eat the eyes and part of the heart of the body.


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[Assistant] When he's finally arrested, police find other body parts stuffed into his pocket.


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[Assistant] At his court appearance, Lee is bereft with remorse. The only words he utters to the judge is the plea, Please kill me.


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[Assistant] He's devastated to hear that the Canadian legal system does not allow for capital punishment.


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[Assistant] Just as in the Papand case, and just as in Emmaie's case, a paranoid delusion fixes on the image of an ideal. In this case, the young Trendy McLean. And there follows an abrupt and violent outburst that leads to the destruction of that image.


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[Assistant] Because the ego is founded on the image of another, and because, as Lacan apothecated in the MA case, paranoia has this self-punitive dimension in which the paranoic destroys the other he would like to be,


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[Assistant] When this image is destroyed, the ego is destroyed with it. Hence Lee's desperate plea to be killed. Something we also see in the case of Christine Papin, who after the crimes attempts to gouge her own eyes out and eventually dies from malnourishment in prison. Now let's look at the third form of the graph.


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[Assistant] We have a new upper portion framed by a question. Que voy? What do you want? Richelacan took from a 1772 novel by the French author Jacques Cazotte. Diable amoureux. The devil in love.


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[Assistant] It's no accident that the curve the graph forms around this resembles a question mark.


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[Assistant] We also have two new symbols in the third form of graph.


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[Assistant] This diamond symbol or lozenge, which in French is called point sang and which does quite a lot of work in so far as it indicates the relation between the other two symbols it can joins.


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[Assistant] Lacan says that it registers the relations in development, development, conjunction, disjunction. And we'll explain later the UC makes of it in this formula.


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[Assistant] It's helpful to see this Poisson as the soldering together of the mathematical symbols for less than and more than, because taken together they don't just indicate a relation, but a contradictory relation.


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[Assistant] How can something be both less than and more than?


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[Assistant] Secondly, we have the appearance of a lowercase d, which indicates desire.


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[Assistant] But in order to explain desire, we're gonna have to first explain demand, which Lacom writes with an uppercase D. What is demand for Lacom?


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[Assistant] It's not a demand for anything as such, any particular object, whether one that can satisfy need or not.


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[Assistant] Lacan criticises those analysts of his time who were so caught up on the notion that subjectivity is formed in relation to the experience of helplessness by the newborn infant and its caregivers, willingness or otherwise, to satisfy its needs.


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[Assistant] We talk about need only in order to distinguish it from demand and desire.


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[Assistant] Need is almost totally out of play for Lacan because we never really find a pure need. It's always polluted by the order of language, which means that what we experience as need is never pure, even basic biological needs. Let's take the example of the newborn infant.


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[Assistant] It wants to be fed, it cries, it may or may not get the bottle or a breast.


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[Assistant] As Lacan says, needs have been diversified and geared down by and through language to such an extent that their import appears to be of a quite different order.


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[Assistant] There is no demand that does not in some respect pass through the defiles of the signifier, he says.


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[Assistant] Now onto desire. And notice that to get to desire, we have to pass through the other.


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[Assistant] Let us begin, Lacan says, explaining desire, with the conception of the other as the locus of the signifier.


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[Assistant] When Lacan says that there is no other of the other, he means that there's nothing to which the other can refer to for legitimacy. No ultimate guarantor of truth meaning.


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[Assistant] Incidentally, although Lakon gets accused of emboldening patriarchy, he also says here that it's not the father who embodies this other, it's the mother.


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[Assistant] The need is the hunger, the cry is the demand.


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[Assistant] What's left over? The margin between the two is desire.


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[Assistant] The thing about desire is that it is needless, both in the sense of being split off from need and in the sense of being contingent, totally senseless.


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[Assistant] The best way to explain the difference between need, demand and desire is in reference to the object.


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[Assistant] Now, this term object means something different in psychoanalysis to what it means in everyday talk.


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[Assistant] And we also talk about an object in the sense of an aim or goal, the object of your affection, the object of this exercise, for instance. The psychoanalytic object is kind of halfway between the two. Take happiness, for instance.


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[Assistant] Happiness might be a goal or an aim in your life, but there's no one object or thing that if you got it, you could say would make you happy.


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[Assistant] This is why psychoanalysis opposes happiness and why Freud thought that there was a fundamental discontent baked into civilization. Das Unbehagen in der Kultur.


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[Assistant] As Zizek points out, happiness is a category of what Freud calls the pleasure principle.


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[Assistant] So what's wrong with happiness is that it relies on the subject's inability or unreadiness to fully confront the consequences of their desire.


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[Assistant] The price of happiness is that we remain stuck in the inconsistency of our desire.


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[Assistant] We believe that having this or that thing will make us happy, and we fail to see that it's happiness itself, which is infinitely hypocritical, in that the quest for happiness only leads to the infinite metonymic deferral of desire.


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[Assistant] So with these two meanings of object, we can make sense of the difference between desire and demand.


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[Assistant] Desire has an object in the sense in which we speak about the desire for something or someone.


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[Assistant] But desire has no object in the sense of an aim or a goal. It's infinitely metonymic, which means that as a byproduct of the split between need and demand, it appears only as a consequence of them.


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[Assistant] Demand has an object, in the sense of aim or goal, but its object is not material, in the sense of a thing. Its object is the recognition of the other. All demand is a demand for love, as Lacan says.


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[Assistant] This is what Lacan refers to when, in a cryptic passage, he talks about the odd symmetry by which desire reverses the unconditionality of the demand for love in order to raise it to the power of an absolute condition. If we think about the example of sexual desire, this becomes clear.


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[Assistant] Sexual desire has an absolute condition, the presence of a certain object that is necessary to get off.


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[Assistant] The gaze and the voice are two examples that Lacon uses.


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[Assistant] Often a certain look that someone gives is enough to excite sexual desire. Same goes for the tone or timbre of someone's voice. Lacan calls them objects A, that is, little object with the A denoting ultra, small other, part of the other, as opposed to the big other.


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[Assistant] They are objects that exist at the margins or edges of the body, but lack a specifiable substance to them.


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[Assistant] They do not have a specular dimension in the same way as we can't point to the gaze. We can't point to the look. Because when we do, we just end up pointing at the eye.


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[Assistant] Its paradoxical status as both the object and cause of desire is something he picks up on later in Subversion of the Subject, where he describes it as like an agama, a precious treasure hidden in a worthless box.


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[Assistant] This is part of the extended reference he gives to the strange attraction of Alcibiades to Socrates in Plato's The Symposium, building off the long commentary in Seminar 8 on that text in relation to transference.


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[Assistant] This is the formula for fantasy, the subject in relation to the object A.


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[Assistant] What Lacan calls the structure of fantasy is built from the three elements.


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[Assistant] In the barred subject, we have the moment of a fading or eclipse of the subject, which is closely tied to the splitting he undergoes due to his subordination to the signifier.


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[Assistant] In A, we have the condition of an object, the object cause of desire. The link between the two is what constitutes fantasy.


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[Assistant] To see this in action, we can turn to Freud's work on fantasy, where we see these three elements that Lacan shows here as comprising the structure of fantasy.