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[Assistant] If we have other surfaces here, same type as the top tarbot, then this operation will be performed on all of them also if this button is clicked before you click the run button. So instead of having to bring up all four of these to do the operation, click this and it will perform it on all objects of the same type that are in the same folder. Now down here in the bottom left hand corner is a filter icon.


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[Assistant] Hover over it, do not click, just hover over it, and this window comes up. You then have to come down here and say, and click on set or change the filter.


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[Assistant] And maybe someone really needs this key to open the lock.


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[Assistant] Someone's lost this key hat, say. Is it yours?


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[Assistant] I think I might have the key to your cheat jar. Uh-uh. No, I don't.


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[Assistant] Lily! It's time to go home, Nye.


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[Assistant] I turned on your lamp.


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[Assistant] I am not big. Don't be sad. Being big doesn't mean you can't ask for help.


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[Assistant] The boys always go fishing with first timers. And they don't quit till they reel someone in.


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[Assistant] His first night in the joint and Dufresne cost me two packs of cigarettes. He never made a sound.


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[Assistant] It's Mr. Hadley, he's captain of the guards. I'm Mr. Norton, the warden. You are convicted felons. That's why they've sent you to me. Rule number one, no blasphemy. I'll not have the Lord's name taken in vain in my prison. The other rules, you'll figure out as you go along. Any questions? When do we eat?


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[Assistant] Or wherever. You can put the whole formula in here. The code can be either typed in on this line


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[Assistant] Or on this line you can enter it from a file on disk.


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[Assistant] To bring up the surface calculator, right click on any surface


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[Assistant] No points, just surfaces to make it easier to see which ones to work with.


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[Assistant] A surface over here by highlighting its name, clicking the blue arrow.


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[Assistant] This is the resolution that the output surface will use. Minimum and maximum x and y values along with the grid increment. If you don't put anything in here, whatever is the first surface in the equation to the right of the equal sign is what it will use for the resolution.


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[Assistant] Here it is a little bit larger. It brings up this window and you click on set or change the filter. Brings up a window where you put in a


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[Assistant] Polygon name. Again, highlights the name of the input pane.


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[Assistant] So for every grid node that it does the calculation, it will use the minimum value of the BCU that stays constant throughout the whole equation.


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[Assistant] Similar is the geometry. If you want to use some geometry on the BCU, you can click BCU, click here.


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[Assistant] Looks for files. The default is inden.mac, but that's not necessary. When you found the file, the name will be put in here and then to execute it, you now hit the run button.


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[Assistant] In 1994, Charles Murray and Richard Hernstein co-authored The Bell Curve.


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[Assistant] An extremely controversial book, which claims that on average, some races are smarter and more likely to succeed than others. Murray and Herrnstein also suggest


[User] Please transcribe this text

[Assistant] That a lack of critical intelligence explains the prominence of violent crime in poor African American communities.


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[Assistant] In 2012, a writer, journalist and political commentator named John Derbyshire wrote an article that was supposed to be a non-black version of the talk that many black parents feel they have to give their kids today. Advice on how to stay safe. In it, he offers suggestions such as, do not attend events likely to draw a lot of blacks, stay out of heavily black neighborhoods, and do not act the good Samaritan to blacks in distress.


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[Assistant] That I would be giving them a platform and attention for ideas that I despised and rejected.


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[Assistant] When I was 10 years old, my mother was diagnosed with schizophrenia.


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[Assistant] Throughout my life, my mother's rage would turn our small house into a minefield.


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[Assistant] Yet though I feared her rage on a daily basis, I also learned so much from her.


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[Assistant] I've come to appreciate some of the important lessons my mother taught me about life.


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[Assistant] She was the first person who spoke to me about learning from the other side. And she, like me, was born and raised in a family of committed liberal Democrats.


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[Assistant] Yet she encouraged me to see the world and the issues our world faces as complex, controversial and ever-changing.


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[Assistant] One day I came across the phrase affirmative action in a book I was reading. And when I asked her what the term meant,


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[Assistant] She spent what felt like an hour giving me a thorough and thoughtful explanation that would make sense to a small child.


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[Assistant] She even made the topic sound at least as interesting as any of my professors have.


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[Assistant] Stressing that while she strongly supported it herself,


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[Assistant] It was important for me to view the issue as a controversial one, with a long history, a questionable future and a host of complicating factors.


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[Assistant] While affirmative action can increase the presence of minorities at elite educational institutions,


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[Assistant] She felt that it could also disadvantage hardworking people of different races from more affluent backgrounds.


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[Assistant] That I should never just write off opinions that I disagreed with or disliked because there was always something to learn from the perspectives of others. Even when doing so might be difficult. But life at home with my mom


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[Assistant] In fourth grade, she decided that I should attend a private school in order to receive the best education possible.


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[Assistant] Several of my friends' parents assumed within minutes of meeting me that my best skill was playing basketball.


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[Assistant] And it really upset me to think that my race made it harder for them to see me as a student who loved reading, writing and speaking.


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[Assistant] I had to be patient, alert and excruciatingly well-mannered. To prove that I belonged, I had to show poise and confidence. The ability to speak well and listen closely. Only then would my peers see that I deserve to be there as much as they did.


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[Assistant] Despite this racial stereotyping and the discomfort I often felt,


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[Assistant] The learning I gained from other aspects of being at an elite private school were incredibly valuable.


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[Assistant] I was encouraged by my teachers to explore my curiosity.


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[Assistant] To challenge myself in new ways and to deepen my understanding of subjects that fascinated me the most. And going to college was the next step.


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[Assistant] I was excited to take my intellectual drive and interest in the world of ideas to the next level. I was eager to engage in lively debate with peers and professors and with outside speakers.


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[Assistant] My desire to engage with difficult ideas was also met with resistance.


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[Assistant] To prepare myself to engage with controversy in the real world, I joined a group that brought controversial speakers to campus. But many people fiercely opposed this group, and I received significant pushback from students, faculty and my administration.


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[Assistant] It was difficult to see how bringing controversial speakers to campus could be valuable when they caused harm. And it was disappointing to me facing personal attacks.


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[Assistant] Having my administration cancel speakers and hearing my intentions distorted by those around me.


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[Assistant] My work also hurt the feelings of many and I understood that.


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[Assistant] Of course, no one likes being offended, and I certainly don't like hearing controversial speakers argue that feminism has become


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[Assistant] I also understand that some people have experienced traumatic experiences in their lives. And for some, listening to offensive views


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[Assistant] Many argue that by giving these people a platform, you're doing more harm than good, and I am reminded of this.


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[Assistant] Every time I listen to these points of view and feel my stomach turn.


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[Assistant] In order to understand the potential of society to progress forward, we need to understand the counter forces.


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[Assistant] By engaging with controversial and defensive ideas, I believe that we can find common ground.


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[Assistant] If not with the speakers themselves, then with the audiences they may attract or indoctrinate. Through engaging, I believe that we may reach a better understanding, a deeper understanding of our own beliefs and preserve the ability to solve problems.


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[Assistant] Which we can't do if we don't talk to each other and make an effort to be good listeners.


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[Assistant] But soon after I announced that John Derbyshire would be speaking on campus, student backlash erupted on social media.


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[Assistant] The tide of resistance, in fact, was so intense that my college president rescinded the invitation. I was deeply disappointed by this because as I saw it, there would be nothing that any of my peers or I could do.


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[Assistant] To silence someone who agreed with him in the office environment of our future employers.


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[Assistant] I look out at what's happening on college campuses and I see the anger and I get it. But what I wish I could tell people is that


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[Assistant] It's worth the discomfort, it's worth listening, and that we're stronger, not weaker because of it. When I think about my experiences with uncomfortable learning,


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[Assistant] I've found that it's been very difficult to change the values of the intellectual community that I've been a part of.


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[Assistant] But I do feel a sense of hope when I think about the individual interactions that I've been able to have with students who both support the work that I'm doing and who feel challenged by it and who do not support it.


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[Assistant] What I found is that while it can be difficult to change the values of a community, we can gain a lot from individual interactions. While I didn't get to engage with John Derbyshire due to my president's disinvitation, I was able to have dinner with Charles Murray before his talk. I knew the conversation would be difficult and I didn't expect it to be pleasant.


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[Assistant] I found that he like me believed in creating a more just society. The thing is,


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[Assistant] His understanding of what justice, justice entailed was very different from my own. The way in which he wanted to understand the issue, the way in which he wanted to approach the issue of inequality, also different from my own.


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[Assistant] And I found that his understanding of issues like welfare and affirmative action was tied and deeply rooted.


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[Assistant] In his understanding of various libertarian and conservative beliefs, what diminishes and increases their presence in our society.


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[Assistant] I'd like to see a world with more leaders who are familiar with the depths of the views of those they deeply disagree with.


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[Assistant] So that they can understand the nuances of everyone they're representing.


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[Assistant] I see this as an ongoing process involving constant learning, and I'm confident that I'll be able to add value down the line if I continue building empathy and understanding through engaging with unfamiliar perspectives. Thank you.


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[Assistant] Mr. Hadley, do you trust your wife?


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[Assistant] Make the distance limit smaller or larger as we need to. We can make it from the well head or click from the well bottom. Then we just go out and click on our picture.


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[Assistant] They will both probably be put on the well section. Uh, wells that have side tracks, both of those will probably be put on the well section. So, continue.


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[Assistant] Note that the area for cross section is grayed out. That's because we're creating it with the poly section. We can create a new template or use an existing.


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[Assistant] If we decide to create a new one, then as soon as we click the okay button, the trail generates a well section with all the wells that were inside that polysection boundary.


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[Assistant] If the wells on the well section need to be edited, like all other well sections, double click on the cross section here into the input pane. Go to the definition tab.


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[Assistant] What do you mean he just wasn't here? Don't say that to me, Hague. Don't say that to me again. But sir, he wasn't. I can see that, Hague. You think I'm blind? Is that what you're saying? Am I blind, Hague? No, sir. What about you? You blind? Tell me what this is. Last night's camp. You see Dufresne's name there? I sure do. See, right there. Dufresne.


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[Assistant] Well, what? I see you two all the time. You're thick as thieves, you are. He must have said something. Well, so what? Not a word.


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[Assistant] Lord, it's a miracle! Man, nothing vanished like a fart in the wind. Nothing left but, damn rocks on a windowsill, and that cupcake on the wall. Let's ask her. Maybe she knows. What say there, fuzzy britches? Feel like talking? Oh, I guess not. Why should she be any different?


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[Assistant] I'm a convicted murderer who provides sound financial planning. It's a wonderful pet to have.


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[Assistant] How about expanding the library, get some new books in there.


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[Assistant] Hi, I'm Marcus Monkey. And I'm George Giraffe. And we're from the United States.


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[Assistant] Today, my friends and I are going to help read Danny and the Dinosaur. We hope you enjoy it.


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[Assistant] Danny and the Dinosaur by Sid Hoff.


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[Assistant] I'm sorry they are not real, said Danny. It would be nice to play with a dinosaur.


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[Assistant] And I think it would be nice to play with you.


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[Assistant] Bow wow, said a dog. He thinks you are a car, said Danny. Go away dog, we are not a car.


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[Assistant] Oh well, thought Danny. We don't have room for a pet that size anyway, but we did have a wonderful day. The end.


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[Assistant] How many of you have had your doctor ask you about sex? Your mental health.


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[Assistant] Alcohol use. These questions are almost universal. But how many of you have had your doctor ask you about money? Most of us haven't.


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[Assistant] But that is strange, because compared to most high-income countries, child poverty is an epidemic in the United States. It creates conditions that may elevate stress hormone levels and impair brain development.


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[Assistant] Poor children in the US are one and a half times more likely to die, and twice as likely to be hospitalized as their middle-class counterparts. So,


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[Assistant] My colleague Dr. Michael Hull and I started asking moms about money. We knew we needed to reimagine what a doctor's visit looks like, to get kids out of poverty and to give them a fair shot at a healthy life. Our questions led to a surprising solution.


[User] Please transcribe this text

[Assistant] The average mom gets two to three thousand dollars a year from it. When families get it, moms and babies are healthier. Fewer depressed moms, babies weighing more at birth.


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[Assistant] But one out of five families who could get it doesn't, and most who do lose hundreds of dollars to the for-profit tax preparation industry.


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[Assistant] So, we started StreetCred, an organization prescribing tax preparation and clinics serving kids. This is a brand new approach, and one that left some questioning our sanity. After all, we're doctors, not accountants, but we have something accountants don't.


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[Assistant] Doctors in every clinic around the country could be doing this work too. It's simple, really.


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[Assistant] The hospital registers as a tax preparation site, and everyone, from medical students to retirees, can volunteer as a tax preparer after passing an IRS exam.


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[Assistant] It's not as hard as it sounds. I promise. I certainly never thought I would be doing other people's taxes, but here I am.


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[Assistant] We're nearing the end of our third year. In the first two, we returned 1.6 million dollars to 750 families in Boston alone. This year,


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[Assistant] This year we've expanded to nine sites in four states. Sixty-three percent of our families have never heard of the EITC. How can you claim something you haven't heard of?


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[Assistant] That two to three thousand dollars a year goes a long way. Take hunger.


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[Assistant] With EITC money, that family can eat for five to six months.


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[Assistant] Or think about medical care. Twenty million children in the US lack access to care meeting modern pediatric standards.


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[Assistant] Perhaps most powerfully of all, this money gives moms hope.


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[Assistant] One mom used her refund for her son to study abroad in Spain.


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[Assistant] She was struggling to pay her rent, but she saw EITC money as his shot at a better future.


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[Assistant] We have an opportunity as doctors and as citizens to get to the root of this problem. We can reimagine health care as a place addressing the causes of poor health, be it infections or finances. Thank you.


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[Assistant] Look, Lily, the wind has died down now, so it won't spin round us past.


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[Assistant] Once Wells have been imported, the headers and possibly deviation surveys, we also can import log data. To do that, start off by right clicking on the Wells folder, say import on selection.


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[Assistant] Brings up this menu, down here from their files of type, we need to tell it what we want to import.


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[Assistant] Once again, navigate to wherever they are. If we know that they all end in LAS, we can come down to the file name and type star dot LAS. Hit enter, it filters


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[Assistant] Choose the ones we want. In this case I'm going to click on the first one, scroll down, shift click on the last one.


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[Assistant] All the names come up here in the file name area and I can click open.


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[Assistant] Are already inside the trail. The name's over here to the left under this file name column.


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[Assistant] Petrel does a pretty good job of picking out the property template that you want to use. Down here at the bottom, it has attached the first couple of hundred lines of the file, so you can scroll through, see exactly what is in it, make sure you know what is in it. If Petrel has picked these correctly,


[User] Please transcribe this text

[Assistant] Good, if not, you can click on a template.


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[Assistant] If all of the LAS files are in the same format, you can click okay for all. If you want to do it well by well, which sometimes you have to do, click okay. It will work for this well, well A10 and then go to the next. In our case,


[User] Please transcribe this text

[Assistant] They're all the same format, so I'm going to click okay for all.


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[Assistant] If a log is in any well in Petrel, it also appears up here under the global well logs area.


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[Assistant] You also can go down to the individual wells and see the logs in them.


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[Assistant] In our 3D window just by clicking under global well logs. So this is what logs look like in a 3D window. Do a little QC, see if you think they're correct, but basically that's adding logs to patrol.


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[Assistant] There's a terrible monster up at Wild Rocks!


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[Assistant] Well, shipmate, eh, be a fine setter, see those whiskers.


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[Assistant] Now these are carrots and coriander, and this is elderflower and parsley, and my personal favorite, chocolate and cress.


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[Assistant] Thank you, Hatsy! You're one fine rescue hen!


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[Assistant] Come and have another go, Lily. I'll hold your hand this time.


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[Assistant] Patrol can show things in two different ways. One, it can just show only the well path as deviated, and two, it can show the tracks as deviated tracks.


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[Assistant] For the first, to show just the well path is deviated, we need to bring up the settings for the cross section.


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[Assistant] You can do that either by double clicking on the cross section over here in the input pane,


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[Assistant] Or by clicking this icon right here, which brings up the settings for the well section. When they come up, go to the definition tab and click on show deviated.


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[Assistant] When you do that and hit the apply button, you'll see the deviations. Here you can see this magenta line that shows the deviation for the C4 well. Here the C1 line is this dashed green line. The C7 does not show here.


[User] Please transcribe this text

[Assistant] The second way is a little more complicated. You can actually show the tracks. Here we have gamma and porosity tracks


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[Assistant] Now, there are a hundred apart. Again, you can't see much of the gamma on the C7 and hardly at all on the C1 and over here on the C4 well.


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[Assistant] So, now let's put the porosity on before we fix that. Same method.


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[Assistant] And we're going to work on each well one at a time. Starting off with the C7 well. Click on the C7 well.


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[Assistant] Instead of using defaults, take the check mark out of that. We do want to show it as deviated. The track alignment is on the right for the C7. Let's see what it looks like on the center. Click that.


[User] Please transcribe this text

[Assistant] So our C4 wells, our C1 wells look better on the left, the C7 well on the right.


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[Assistant] Now again, the C7 and the C1 might be a little close together. So let's once again bring up the settings for the window. And instead of making that 100, let's make it 125. Click the OK button. Now they're moved a little bit farther apart. Once again, we might want to color fill the logs. So we go through the same procedure. Click on the edit well tops tool to bring up the tool palette. Again, go to curve fill.


[User] Please transcribe this text

[Assistant] Click on apply, it changes it. Now go down here to the porosity track, follow the same procedure, but we want to go from a level


[User] Please transcribe this text

[Assistant] Often surfaces or 2D grids are created in another application


[User] Please transcribe this text

[Assistant] And rename it again, something meaningful. In this case, I'm just going to call it grids. Right click on that grids folder, choose import on selection.


[User] Please transcribe this text

[Assistant] Again change the CRS. Look at the Z range. Here we have positive 1755 to positive 2086. Remember, surfaces and elevations in Petrel need to be negative. They're below the datum. So we can make sure this negates Z values when mostly positive is checked.


[User] Please transcribe this text

[Assistant] You're not well, Hansi. You should be wrapped up nice and warm with a cup of cocoa. But I need to do my deliveries. Can someone else do them for you? But who? My train's not easy to drive, you know. How about me? Can't be that hard to drive a little old train. That settles then.


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[Assistant] On. No, if only I had some gloves to keep my hands warm.


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[Assistant] I should have known better than to think I could drive your train. Don't worry.


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[Assistant] I'm a sign language interpreter that specializes in music interpreting. And you're probably wondering why deaf people would attend concerts. But actually, music is so much more than sound simply traveling through the ear.


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[Assistant] For example, my friend Lisa, she cuts her hair a certain length so she feels the vibrations of sound in the music.


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[Assistant] And music has psychological effects on us. It invokes feelings of nostalgia, happiness, sadness, falling in love.


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[Assistant] It makes you have a feeling of connectedness. And unfortunately, deaf and hard of hearing people are excluded from these events because obtaining a sign language interpreter is so difficult and so overwhelming


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[Assistant] That they simply don't buy the tickets, or they just give up. And this is not okay. We have to make everything accessible.


[User] Please transcribe this text

[Assistant] So, myself, I am a sign language interpreter, so what I have to do is I have to take music and bring it to life.


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[Assistant] In doing that, I become a bridge between the hearing world and the deaf world.


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[Assistant] Making sure that I'm representing music and the artistry of what music represents. Now this is a lot of work, okay? For a regular set that might be 12 songs, myself and a team, we have to study over 30 songs or more for one set. And hope and pray we have the right set list.


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[Assistant] And we all communicate in different ways. Some of us sign and voice, some of us just sign. But no one way is superior than the other.


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[Assistant] So along with Madame Gandhi and myself today, let's break down those barriers.


[User] Please transcribe this text

[Assistant] Yes, Filthy? Is it about, uhm, the dance party?


[User] Please transcribe this text

[Assistant] What's this? That's Salty's tie, Hattie. He was going to- It's Salty's! Well he'd be needing it for tonight, won't he? All aboard!


[User] Please transcribe this text

[Assistant] Welcome to Brightly Storytime. I'm Miss Linda, and today we're going to read a book about a boy supervillain. It's called Dylan the Villain by KG Campbell.


[User] Please transcribe this text

[Assistant] Mr. and Mrs. Snivels were minding their own business when they happened to have a baby.


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[Assistant] Congratulations, said the doctor. It's a healthy little supervillain. Mrs. Snivels was quite surprised. There aren't any villains in the family, she said. Or are there? Mr. Snivels didn't say anything, but there totally were. The new parents named their little boy Dylan.


[User] Please transcribe this text

[Assistant] They can even be allergic to everyday stuff, like purple parsnip preserves.


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[Assistant] But by and large, Dylan's parents figured he was just about the best thing ever.


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[Assistant] Dylan's super villain costume, they said, is super scary.


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[Assistant] Dylan's super villain laugh, they insisted, is super crazy.


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[Assistant] Dylan's super villain inventions, they boasted, are extra super villainous. You, they told Dylan.


[User] Please transcribe this text

[Assistant] Sure, Dylan's costume was scary, but Addison Van Malis' was bone-chilling.


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[Assistant] And yes, Dylan's laugh was crazy.


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[Assistant] But Addison Van Malis's was bananas.


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[Assistant] Anne Dillon's inventions were certainly super villainous.


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[Assistant] But Addison Van Malis's were demonic. Honestly, grumbled Dylan.


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[Assistant] The way people act around here, you'd think that I'm not the very best and cleverest supervillain in the whole wide world. He vowed to prove that he was.


[User] Please transcribe this text

[Assistant] His chance came one day when Ms. Slither announced a contest.


[User] Please transcribe this text

[Assistant] This hideous trophy, she declared, will be awarded to the pupil who creates the most diabolical robot. Principal Sinister will be the judge.


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[Assistant] Dylan worked feverishly late into the night. He sawed and he hammered. He screwed and he glued. He painted and he polished. By midnight, Dylan had built a robot.


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[Assistant] In the morning Dylan gave his parents a demonstration. Look, he said, it has telescopic arms.


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[Assistant] That, said Mr. and Mrs. Snivels, is the very best, most diabolical robot in the whole wide world. And Dylan totally agreed.


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[Assistant] Sure. Dylan's robot was diabolical.


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[Assistant] In fact, it was more diabolical than anyone else's. Except one.


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[Assistant] Look, said Addison Van Malis, it has titanium armor.


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[Assistant] And evil laser eyes. It has a freeze ray and a shrink ray.


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[Assistant] Dylan's robot was the most diabolical in the class.


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[Assistant] Where is Addison Van Malis? said the principal. We don't know, said everyone. And that was quite true. Dylan won the hideous trophy. It was a little sticky, but Dylan didn't care. He cuddled it all night.


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[Assistant] Unfortunately, the sticky, hideous trophy gave Dylan an allergic reaction.


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[Assistant] It was almost like someone had put purple parsnip preserves on it. On purpose.


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[Assistant] That, said Mr. and Mrs. Snivels, is the very ugliest, most uncomfortable-looking allergic reaction in the whole wide world. And Dylan totally agreed.


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[Assistant] That Dylan sure is a super villain. I wonder if he'll get away with that trick he played. Come back again to read more stories together.


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[Assistant] Find more books to read on your own at ReadBrightly.com. Thanks for watching.


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[Assistant] Now this needs to be the active well tops folder, so make sure it's highlighted. Then right click and choose spreadsheet.


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[Assistant] So shift click that, highlight everything, copy it into the Microsoft clipboard, return to Patrell, highlight the one line in our spreadsheet,


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[Assistant] You cannot change the order of the columns in betrayal


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[Assistant] Do you remember a time when you felt hormonal and moody?


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[Assistant] Your skin was breaking out, your body was growing in strange places and very fast.


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[Assistant] And at the same time, people were expecting you to be grown up in this new way. Teenagers, right?


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[Assistant] Will these same changes happen to a woman when she's having a baby?


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[Assistant] And we know that it's normal for teenagers to feel all over the place. So why don't we talk about pregnancy in the same way?


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[Assistant] There are entire textbooks written about the developmental arc of adolescence, and we don't even have a word to describe the transition to motherhood. We need one.


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[Assistant] I'm a psychiatrist who works with pregnant and postpartum women, a reproductive psychiatrist. And in the decade that I've been working in this field, I've noticed a pattern.


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[Assistant] It goes something like this. A woman calls me up, she's just had a baby, and she's concerned. She says, I'm not good at this. I'm not enjoying this. Do I have postpartum depression?


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[Assistant] So I go through the symptoms of that diagnosis, and it's clear to me that she's not clinically depressed, and I tell her that. But she isn't reassured. It isn't supposed to feel like this, she insists. So I say, okay, what did you expect it to feel like?


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[Assistant] This is an unrealistic expectation of what the transition to motherhood feels like.


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[Assistant] And it wasn't just her. I was getting calls with questions like this from hundreds of women.


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[Assistant] All concerned that something was wrong because they couldn't measure up. And I didn't know how to help them.


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[Assistant] Because telling them that they weren't sick wasn't making them feel better.


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[Assistant] I wanted to find a way to normalize this transition, to explain that discomfort is not always the same thing as disease. So I set out to learn more about the psychology of motherhood, but there actually wasn't much in the medical textbooks because doctors mostly write about disease. So I turned to anthropology.


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[Assistant] And it took me two years, but in an out-of-print essay written in 1973 by Dana Raphael, I finally found a helpful way to frame this conversation. Mattressence.


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[Assistant] It's not a coincidence that matrescence sounds like adolescence.


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[Assistant] Both are times when body morphing and hormone shifting lead to an upheaval in how a person feels emotionally and how they fit into the world.


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[Assistant] And like adolescence, metrescence is not a disease. But since it's not in the medical vocabulary, since doctors aren't educating people about it, it's being confused with a more serious condition called postpartum depression.


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[Assistant] I've been building on the anthropology literature and have been talking about matrescence with my patients using a concept called the push and pull. Here's the pull part.


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[Assistant] So as humans, our babies are uniquely dependent. Unlike other animals, our babies can't walk, they can't feed themselves, they're very hard to take care of. So evolution has helped us out with this hormone called oxytocin.


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[Assistant] It's released around childbirth and also during skin-to-skin touch. So it rises even if you didn't give birth to the baby.


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[Assistant] Oxytocin helps a human mother's brain zoom in, pulling her attention in so that the baby is now at the center of her world.


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[Assistant] But at the same time, her mind, her mind is pushing away.


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[Assistant] Because she remembers there are all these other parts to her identity. Other relationships. Her work.


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[Assistant] This is the emotional tug of war of mattresses. This is the tension the women calling me were feeling. It's why they thought they were sick.


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[Assistant] If women understood the natural progression of matressence,


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[Assistant] If they knew that under these circumstances, ambivalence was normal and nothing to be ashamed of, they would feel less alone.


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[Assistant] They would feel less stigmatized, and I think it would even reduce rates of postpartum depression. I'd love to study that one day.


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[Assistant] I'm a believer in talk therapy, so if we're going to change the way our culture understands this transition to motherhood, women need to be talking to each other, not just me.


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[Assistant] So mothers, talk about your mattressence with other mothers, with your friends, and if you have one, with your partner, so that they can understand their own transition and better support you.


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[Assistant] But it's not just about protecting your relationship.


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[Assistant] When you preserve a separate part of your identity, you're also leaving room for your child to develop their own.


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[Assistant] Matrescence is profound, but it's also hard, and that's what makes it human. Thank you.


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[Assistant] A young man and a young woman were sitting behind me. They were talking loudly. I got very angry. I could not hear the actors. I turned


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[Assistant] I don't think I'm going to win a lovely shiny medal, and I really wanted one.


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[Assistant] Welcome to Acid Horizon, the theory podcast. It's Craig, Will, Matt and Adam here. And today we are privileged to be joined by Catherine Malibu.


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[Assistant] Professor of Philosophy at the European Graduate School, as well as the Center for Research in Modern European Philosophy, where she also supervises our very own anarcho-hegelian, Adam.


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[Assistant] Her research spans a vast and widely celebrated collection of works developing in and around her central concept of plasticity and throughout numerous developments and interventions into fields such as Hegelianism, deconstruction,


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[Assistant] Kantianism, the philosophies of epigenesis and neurobiology, feminism, and artificial intelligence to name but a few.


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[Assistant] Today, Catherine joins us to discuss the metaphysics of anarchy, the most plastic of social forms and its political implications, particularly in the light of her coming work on anarchism, plasticity, and pleasure.


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[Assistant] To do so, we'll be using the introductory chapter from Reiner Sherman's Heidegger on Being and Acting, From Principles to Anarchy, as our source text for the discussion. Catherine, thank you again.


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[Assistant] So the text that we have in focus today is Reiner Sherman's analysis of Heidegger's work, which is on his terms, a backwards reading of Heidegger in order to articulate this concept of anarchy. Catherine, maybe you can actually start us off. What is the concept of anarchy that, that you are attempting to develop?


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[Assistant] Based on the work that we are looking at today.


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[Assistant] Now one of the concepts that he's using in order to articulate this theory of anarchy is the notion of deconstruction, which based on just reading the introduction of the text seems to me to be an attack on the dogmatic image of thought in the manner of Kant.


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[Assistant] How does the operation of deconstruction either approach or fail to become the notion of anarchy that Sherman is edging on?


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[Assistant] It's interesting because Sherman early on in the introduction.


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[Assistant] Talks about, uh, he brings up the names Proudhon and Bakunin and says that


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[Assistant] Their notion of anarchy is not the notion of anarchy that he's trying to develop. In fact, what they're trying to do is more or less reorder the coordinates of power. Would you think that political anarchism, and maybe this is jumping a little too far ahead, could benefit from the intimation of the idea of metaphysical anarchy that, that Sherman's going for here?


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[Assistant] Catherine, last night I was mulling over this notion of the eval of ignorance, which I thought was one of the most beautiful parts of this piece.


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[Assistant] And I actually had a dream very early this morning that, that resonates closely with, with what's happening in this text. I was forced in the dream, I was forced to explain to an old man, an indolent,


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[Assistant] Uh, for my effort, he reported me to the authorities and it made me think that at the basis of my attempt to explain and one of the first things I thought of when I woke up was this concept of the avowal of ignorance and it made me think that beneath


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[Assistant] Our attempt to conceptualize foundations, to assert any sort of firmness of a concept


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[Assistant] Lies this, this notion of ignorance. You know, there's so many metaphors that we can use the peeling back of an onion till nothing is there. You know, do we think about ignorance as a kind of an infusion of a non thought or a non knowledge in our knowledge? You know, I do work on Duluth's and clearly what's at stake here is the idea of thinking the concept of thinking. What is a thought?


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[Assistant] And it seems that Sherman in his reading of Heidegger is saying that there is this, this, this idea of an ignorance or, or, uh, you know, maybe a nothingness or a stupidity at the center of all thinking. But I tend to think that maybe.


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[Assistant] One of the ways that what we're talking about now ties into what we've been discussing on the podcast recently.


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[Assistant] Is uhm, we, we've been covering the concept of destituent power and the, the recent book by Marcelo Tari. And I mean, it, it seems pretty clear to me that there's a strong analogy between the metaphysical anarchy that we're talking about here and this notion of destituent power.


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[Assistant] And maybe one of the risks, at least in terms of how we covered it in our most recent episode was, Tari, at least in the introduction of the book,


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[Assistant] He seems hesitant to speak of democracy in glowing terms and kind of either sidesteps that term or avoids it in such way because he understands the risks of


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[Assistant] The re-territorialization of the powers of governmentality in the invocation of that term whether it be through a parliamentary form of government or what have you.


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[Assistant] That risk, uh, the risk that I've articulated to be true in any sense. And maybe you could say something about how we should think about democracy in relation to these terms that I've brought in.


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[Assistant] So in other words, the normative dimension of the kind of anarchism that a Gambin is agitating for is an actualization of norms in their performance, in their creation.


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[Assistant] On those terms, I'm not prepared to address this head on, but it seems that a sort of notion of democracy as it circulates in


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[Assistant] In history might not be sufficient to capture the, the sort of operation.


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[Assistant] That a Gambon is valorizing here because nothing can, can, can sort of, uh, land on or, you know, encapsulate the movement of this creative act.


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[Assistant] And maybe this is a good reason to avoid that term, at least in terms of, um, conceptualizing what freedom might be. Uh, but maybe what we'll do at this time is, is kind of move on. I know that Adam had some questions about, uh, your work on pleasure.


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[Assistant] I see a very strong thread connecting thinkers like Ranciere and others, not going far enough, basically affirming metaphysical anarchism, not


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[Assistant] Into the, the traditional concept of pleasure, the traditional way of doing philosophy. And I'm curious because it made me think of Nietzsche and the birth of tragedy, where he talks about Socrates and how maybe the enterprise of all philosophy, of all thinking,


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[Assistant] Maybe marred from the very start by a kind of resentment.


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[Assistant] Yeah, it seems to me that the ultimate risk


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[Assistant] Here is that when pleasure links with a philosophical discourse that the discourse will attempt to legislate over it.


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[Assistant] Right? Uhm, and this I think is what Nietzsche is alluding to anyway in The Birth of Tragedy and maybe we can find this in Deleuze as well. I mean, at that point is just, uhm, is our expression of


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[Assistant] You know, like, like, how do we do that? I mean, it seems to me that we want to be able to articulate a concept of pleasure, but it needs to be done so in a way that


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[Assistant] It is self-destructive or self-destituting in some way.


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[Assistant] Catherine, I just want to thank you very, very much on behalf of all of us here. This has been an excellent interview.


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[Assistant] So the first part of the video is going to be more explanatory and I'll be showing you coding examples so that we can compare them quickly and we'll start live coding after that. I know I mentioned importing assets last time, but it made more sense to separate them into different videos. So we'll do that next time.


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[Assistant] Uh, I also want our system to have different speeds so that if we hit the shift button, we'll run a bit faster. And I want us to have a collision system as well. So those are our goals.


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[Assistant] Let's start at the code that we had in the last video. So we were, remember we were in the step event of the player. So this right here is movement at its simplest, right? They'll just say if I hit a button, then change the coordinate.


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[Assistant] Alright, so now let's say that I want to change the number of pixels my character moves when I hit a button. So instead of two, let's say I want to change it to three.


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[Assistant] So we'll go into how to actually code a collision in a couple of minutes, but for now I'm just putting all caps collision as a placeholder. That's not actual code. Okay. This is just to show you the logic.


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[Assistant] So similar logic to before, if I press X, the amount I want to move, the intended movement, will be equal to my negative speed. Negative because we're going left. And the same goes for all of the other inputs. So next is our collision check.


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[Assistant] So remember we're checking here, not if we're currently colliding, but if we're about to collide. If there is a collision,


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[Assistant] But if we pass the collision check and we're not going to collide, then we go ahead and we apply the movement to X.


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[Assistant] So if there's no input, or if we fail the collision check,


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[Assistant] Then move x and move y are gonna be equal to zero, and we won't be moving anywhere.


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[Assistant] But we haven't constrained the movement to only one direction at a time. At the moment it will still be allowing diagonal movement. If I'm pressing left and the up key, I'm going to be moving up and to the left, so I'm going to be moving diagonally.


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[Assistant] So to change this and only allow movement in one direction, all we have to do is change our if statements to else ifs. So now these statements...


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[Assistant] Are sort of linked together. So when the code runs, if I'm pressing left, the first statement will be true and it will run the code inside the code brackets, but it's not going to go any further. It's not going to check any of the following else ifs. They're only checked if the previous condition hasn't been met.


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[Assistant] So the only way we're ever gonna go up or down is if we're not pressing left or right.


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[Assistant] You can see because of the way that we've structured the if and else if statements that left is always going to win. So let me show you. So here I have my player object and some arrows and these are going to light up and show you which buttons I'm pressing.


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[Assistant] So let me explain these two, they're a bit trickier. So remember how I explained that the keyboard check functions.


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[Assistant] They return true or false, right? So, I'm pressing it or not pressing it, true or false.


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[Assistant] In Game Maker, true or false, they're actually equivalent to 1 and 0, so if I write


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[Assistant] 10 multiplied by false, that's gonna equate to zero.


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[Assistant] And that will equal negative one and then negative one times our speed will equal negative speed, which is exactly what we want.


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[Assistant] But now we've got our inputs cancelling each other if we're pressing two of them at the same time.


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[Assistant] The only thing is we're back to our previous problem of allowing diagonal movement.


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[Assistant] So to stop that, we can just add a little if check. So we'll only allow moving up or down if we're not moving horizontally. So if move X is equal to zero.


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[Assistant] We'll stop moving up and then we'll just start going left because the if statement is not going to be true anymore.


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[Assistant] So if you'd prefer it the other way around, so that there's a bias to moving vertically instead of horizontally, then you can just change those over. Alright, so we're done for the movement. The next thing that we're going to do is write the code for having multiple speeds.


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[Assistant] So we're going to come over to Game Maker Studio 2, we're going to come over to our PlayerObjectsCreate event, and we're going to declare three more variables. So these are going to be our walking speeds, our normal speed, and our run speed.


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[Assistant] That's going to be my walking key and we're going to declare input run. And I'm going to make that equal to the keyboard check for the shift key. So now to alter the speed.


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[Assistant] We're going to change our SPD, our speed variable, depending on which of the input buttons that we're pressing.


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[Assistant] So we're either going to be pressing walk, run or nothing. And so the speed will equal the walking speed, the run speed or the normal speed. So if we're pressing the input walk, so if that's true, then our speed is going to equal our walking speed. And then else if we're pressing the run button, the speed will equal the running speed. And if neither of those are true, then our speed will just equal the normal speed. And just to make it a little


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[Assistant] Prettier, a little bit more readable. Sometimes I like to tab over these, just so that they all line up and I can read it really quickly. Okay, so let's see how that looks.


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[Assistant] So you can see the speed variable in green here changing. So if we are pressing the run button, our speed goes up to three. And if we're pressing the walk button, our speed goes down to one. But the thing is, again, there is a slight bias for the walk. If we're pressing walk and run,


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[Assistant] So remember that the keyboard checks, they can equal one or zero. So we're going to use this again to do a bit of maths. So if we're pressing both the walk and the run speed.


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[Assistant] Let's change something in the project settings. So let's go into options, main, and we're going to change the game frames per second. We're going to change that up to 60. Just so that we have 60 frames per second.


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[Assistant] Actually, I might just change the speeds back to 1, 2, 3. That's gonna look a bit better for our RPG game.


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[Assistant] So for our collision, we're going to be creating a new object. So we're also going to need a new sprite. So let's go over to, actually, we can just duplicate the player sprite and we'll call this SPRCollision.


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[Assistant] So if it's at the top left, when you place the objects, that's where the object is gonna be anchored to.


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[Assistant] In our game we'll probably be changing these to be the bottom center where the character's feet is, but for now we can just leave it at the top left.


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[Assistant] And this is for our moving X and move Y. So the code that we're going to use, uh, for game maker for collision is called a place meeting. So it's checking if two objects.


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[Assistant] It's leaving quite a noticeable gap here. Whereas the desired movement for us would be stopping right next to the collision object. So let's just set the speed back.


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[Assistant] And we'll come back into our step event and we're going to alter the collision code. So instead of just...


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[Assistant] Setting our move x to zero, we're gonna do something a bit more sophisticated.


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[Assistant] Hey. Hey. How did you find me? Yours Instagram. Nice pics by the way.


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[Assistant] Sometimes, sometimes it's not as simple as that. This kind of shit gets messy. Everybody's got issues. Especially dads. And sometimes they fuck up. Well, all the time. That doesn't mean they don't care.


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[Assistant] He's somewhere down there. He's here? Looking for you. I mean, try to cut your dad some slack. He may not always get it right, but he's trying. That's more important than you think.


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[Assistant] Many of the Norse sagas are based on family histories, and we find this very engaging combination of historical material and mythological traditions.


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[Assistant] The beginning of the book, he already starts feeling the temptation, maybe putting the ring on and escaping, leaving his friends behind. He passes the test of that stage, but later on the temptation becomes worse and worse.


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[Assistant] In the Dead Marshes where you have this kind of rotting landscape with bodies of an older war, you definitely get...


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[Assistant] This is not anymore the idea of a heroic war. This is the death and devastation. What is left really is just dead men.


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[Assistant] Warriors Number 1 Into the Wild by Aaron Hunter Performed by McLeod Andrews Chapter 3


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[Assistant] That morning as Rusty slept off his night's wanderings, the Mousestream came again, even more vivid than before. Free of his collar, beneath the moon, he stalked the timid creature. But this time he was aware of being watched.


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[Assistant] Blinking in the bright sunshine that was streaming across the kitchen floor. His fur felt heavy and thick with warmth.


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[Assistant] His food bowl had been topped up, and his water bowl rinsed out and filled with bitter tasting two-leg water.


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[Assistant] Rusty preferred drinking from puddles outside, but when it was hot or he was very thirsty,


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[Assistant] He had to admit it was easier to lap up the water indoors.


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[Assistant] You should have been awake an hour ago. The baby sparrows were out stretching their wings. Did you catch any? Rusty asked. Smudge yawned and licked his nose.


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[Assistant] Couldn't be bothered. I'd already eaten enough at home.


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[Assistant] Anyway, why weren't you out earlier? Yesterday you were complaining about Henry sleeping his time away, and today you're not much better yourself.


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[Assistant] Rusty sat down on the cool earth beside the fence and curled his tail neatly over his front paws.


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[Assistant] Rusty paused, not sure how to tell his old friend what had happened. I met some wild cats, he began. What? Smudge was clearly shocked. Did you get into a fight? Sort of.


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[Assistant] Rusty could feel the energy surging through his body again as he recalled the strength and power of the clan cats. Were you hurt? What happened? Smudge prompted him eagerly. There were three of them, bigger and stronger than any of us. And you fought all three of them? Smudge interrupted, his tail twitching with excitement. No, Rusty mewed hastily, just the youngest one. The other two came later.


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[Assistant] How come they didn't shred you to pieces? They just warned me to leave their territory. But then- Rusty hesitated. What? Mute Smudge impatiently. They asked me to join their clan. Smudge's whiskers quivered disbelievingly. They did, Rusty insisted. Why would they do that? I don't know, Rusty admitted.


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[Assistant] I think they need extra paws in their clan. Sounds a bit odd to me, Smudge mewed doubtfully. I wouldn't trust them if I were you. Rusty looked at Smudge.


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[Assistant] His black and white friend had never shown any interest in venturing into the woods. He was perfectly content living with his housefolk.


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[Assistant] He would never understand the restless longing that Rusty's dreams stirred in him night after night. But I do trust them, Rusty purred softly. And I've made up my mind, I'm going to join them.


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[Assistant] Smudge scrambled down from the fence and stood in front of Rusty. Please don't go, Rusty, he mute an alarm. I might never see you again. Rusty nudged him affectionately with his head. Don't worry, my house folk will get another cat. You'll get on with him fine. You get along with everyone. But it won't be the same, Smudge wailed. Rusty twitched his tail impatiently. That's just the point.


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[Assistant] If I stay around here till they take me to the cutter, I won't be the same either. Smudge looked puzzled. The cutter, he echoed. The vet, Rusty explained, to be altered like Henry was. Smudge shrugged and stared down at his paws. But Henry's all right, he mumbled. I mean, I know he's a bit lazier now, but he's not unhappy. We could still have fun.


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[Assistant] Rusty felt his heart fill with sadness at the thought of leaving his friend. I'm sorry, Smudge. I'll miss you, but I have to go. Smudge didn't reply.


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[Assistant] But stepped forward and gently touched Rusty's nose with his own. Fair enough. I can see I can't stop you, but at least let's spend one more morning together.


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[Assistant] Rusty found himself enjoying the morning even more than usual.


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[Assistant] Visiting his old haunts with Smudge, sharing words with the cats he had grown up with.


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[Assistant] Every one of his senses felt supercharged, as if he were poised before a huge jump.


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[Assistant] As Sun High approached, Rusty grew more and more impatient to see if Lionheart would really be waiting for him.


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[Assistant] The idle buzz of meows from his old friends seemed to fade into the background as all his senses strained toward the woods. Rusty jumped down from his garden fence for the last time and crept into the woods. He had said his goodbyes to Smudge.


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[Assistant] Now all his thoughts were focused on the forest and the cats who lived in it.


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[Assistant] As he approached the spot where he had met with the clan cats the night before, he sat down and tasted the air.


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[Assistant] Tall trees shielded the ground from the midday sunshine, making it comfortably cool.


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[Assistant] Rusty could smell the same cat scent as last night, but he had no idea whether it was old or new. He lifted his head and sniffed uncertainly. You have a lot to learn, meowed a deep voice.


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[Assistant] Even the tiniest clan kit knows when another cat is nearby.


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[Assistant] The sense of Bluestar and Greypaw were still there, but not as strong as the previous night. Hesitantly, he mewed, Bluestar and Greypaw aren't with you this time. That's right, meowed Lionheart, but someone else is.


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[Assistant] White Storm stood in front of Rusty and gazed down at him. His white coat was thick and unmarked, and his eyes were the yellow of sun-baked sand.


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[Assistant] Rusty flattened his ears warily and tensed his muscles in preparation for a fight.


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[Assistant] Relax before your fear scent brings unwanted attention, growled Lionheart. We are here only to take you to our camp. Rusty sat very still.


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[Assistant] Hardly daring to breathe as Whitestorm stretched his nose forward and gave him a curious sniff. Hello, young one, murmured the white cat. I've heard a lot about you. Rusty dipped his head in greeting. Come, we can speak more once we are in the camp, ordered Lionheart.


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[Assistant] And without pausing, he and Whitestorm leaped away into the undergrowth.


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[Assistant] Rusty jumped to his paws and followed as quickly as he could.


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[Assistant] The two warriors made no allowances for Rusty as they sped through the forest, and before long he was struggling to keep up. Their pace barely slowed as they led him over fallen trees that they cleared in a single leap, but which Rusty had to scramble over paw by paw.


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[Assistant] They passed through sharply fragrant pine trees where they had to jump across deep gullies churned up by a two-legged tree eater.


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[Assistant] From the safety of his garden fence Rusty had often heard it roaring and snarling in the distance. One gully was too wide to jump, half filled with slimy, foul smelling water. The clan cats waded through without hesitating. Rusty had never put a paw in water before.


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[Assistant] But he was determined not to show any signs of weakness, so he narrowed his eyes and followed, trying to ignore the uncomfortable wetness that soaked his belly fur. At last Lionheart and Whitestorm paused.


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[Assistant] Moving leaves, a glimpse of fur among the bushes below, but his eyes saw nothing except the same undergrowth that covered the rest of the forest floor. Use your nose, you must be able to scent it, hissed White Storm impatiently. Rusty closed his eyes and sniffed. White Storm was right.


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[Assistant] The scents here were very different from the cat scent he was used to. The air smelled stronger, speaking of many, many different cats. He nodded thoughtfully and announced, I can smell cats. Lionheart and Whitestorm exchanged amused looks.


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[Assistant] There will come a time, if you are accepted into the clan, when you will know each cat sent by name. Lionheart meow. Follow me!


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[Assistant] He led the way nimbly down the boulders to the bottom of the ravine, and pushed his way through a thick patch of gorse. Rusty followed, and White Storm took up the rear.


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[Assistant] As his side scraped against the prickly gorse, Rusty looked down and noticed that the grass beneath his paws was flattened into a broad, strong smelling track. This must be the main entrance into the camp, he thought. Beyond the gorse, a clearing opened up.


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[Assistant] The ground at the center was bare hard earth, shaped by many generations of paw steps. This camp had been here a long time. The clearing was dappled by sunshine, and the air felt warm and still. Rusty looked around, his eyes wide.


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[Assistant] There were cats everywhere, sitting alone or in groups, sharing food or purring quietly as they groomed one another. Just after sun high, when the day is hottest, is a time for sharing tongues, Lionheart explained. Sharing tongues? Rusty echoed.


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[Assistant] Clan cats always spend time grooming each other and sharing the news of the day, Whitestorm told him. We call it sharing tongues.


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[Assistant] It is a custom that binds the members of the clan together.


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[Assistant] The cats had obviously smelled Rusty's foreign scent, for heads began to turn and stare curiously in his direction. Suddenly shy of meeting any cats gazed directly, Rusty looked around the clearing.


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[Assistant] It was edged with thick grass, dotted with tree stumps and a fallen tree.


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[Assistant] Meowd Lionheart, flicking his tail toward an impenetrable looking tangle of brambles, is the nursery, where the kits are cared for. Rusty swiveled his ears toward the bushes.


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[Assistant] As he watched a ginger she-cat squirmed out through a small gap in the front. That must be one of the queens, Rusty thought.


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[Assistant] A tabby queen with distinctive black markings appeared around the bramble bush.


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[Assistant] The two she-cats exchanged a friendly lick between the ears before the tabby slipped inside the nursery, murmuring to the squealing kits.


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[Assistant] Loyalty to the clan is the first law in our warrior code.


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[Assistant] Rusty sniffed the air, too, and was pleased that he was able to recognize the scent of the gray she-cat a moment before she appeared from the shadow of a large boulder that lay beside them at the head of the clearing. He came, Bluestar purred, addressing the warriors. Whitestorm replied, Lionheart was convinced he would not.


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[Assistant] Rusty noticed the tip of Bluestar's tail twitch impatiently. Well, what do you think of him? She asked.


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[Assistant] He cupped up well on the return journey, despite his puny size, White Storm admitted. He certainly seems strong for a kitty pet. So it is agreed, Blue Star looked at Lionheart and White Storm. Both cats nodded. Then I shall announce his arrival to the clan. Blue Star leaped up onto the boulder and


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[Assistant] Let all those cats old enough to catch their own prey join here beneath the high rock for a clan meeting.


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[Assistant] Her clear call brought all the cats trotting toward her, emerging like liquid shadows from the edges of the clearing.


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[Assistant] The other cats settled themselves below the high rock and looked expectantly up at their leader.


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[Assistant] Rusty felt a rush of relief as he recognized Greypaw's thick grey fur among the cats. Beside him sat a young tortoiseshell queen.


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[Assistant] Her black tipped tail tucked neatly over small white paws. A large dark gray tabby crouched behind them.


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[Assistant] The black stripes on his fur looking like shadows on a moonlit forest floor. When the cats were still, Blue Star spoke.


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[Assistant] Thunderclan needs more warriors. She began.


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[Assistant] Never before have we had so few apprentices in training. It has been decided that ThunderClan will take in an outsider to train as a warrior.


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[Assistant] Rusty heard indignant mutterings erupt among the clan cats, but Bluestar silenced them with a firm yowl.


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[Assistant] I have found a cat who is willing to become an apprentice of Thunderclan. Lucky to become an apprentice!


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[Assistant] Rusty craned his neck and saw a pale tabby cat standing up and glaring defiantly at the leader. Bluestar ignored the tabby and addressed all of her clan.


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[Assistant] Lionheart and Whitestorm have met this young cat.


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[Assistant] And they agree with me that we should train him with the other apprentices. Rusty looked up at Lionheart, then back at the clan to find all eyes were on him now. His fur prickled and he swallowed nervously. There was silence for a moment.


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[Assistant] Rusty was sure they must all be able to hear his heart pulsing and smell his fear scent.


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[Assistant] Now a deafening crescendo of caterwalling rose from the crowd.


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[Assistant] Where does he come from? Which clan does he belong to? What a strange scent he carries. That's not the scent of any clan I know.


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[Assistant] Then one yowl in particular sounded out above the rest. Look at his collar! He's a kitty pet! It was the pale Tappy again.


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[Assistant] Once a kitty pat, always a kitty pat. This clan needs wild-born warriors to defend it, not another soft mouth to feed. Lionheart bent down and hissed into Rusty's ear. That tabby is Longtail. He smells your fear. They all do.


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[Assistant] You must prove to him and the other cats that your fear won't hold you back. But Rusty couldn't move.


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[Assistant] How could he ever prove to these fierce cats that he wasn't just a kitty pet? The tabby continued to jeer at him.


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[Assistant] Your collar is a mark of the two legs, and that noisy jingling will make you a poor hunter at best. At worst, it will bring the two legs into our territory, looking for the poor lost kitty-pet who fills the woods with his pitiful tinkling. All the cats howled in agreement.


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[Assistant] Rusty flattened his ears, narrowed his eyes, and, hissing, leaped through the startled cats to fling himself onto his tormentor.


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[Assistant] Longtail was completely unprepared for Rusty's attack. He staggered sideways, losing his footing on the hard-baked earth.


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[Assistant] No subtle rituals of swiping and boxing preceded this fight. The two cats were locked in a screaming writhing tussle that flipped and somersaulted around the clearing at the heart of the camp.


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[Assistant] As Rusty scratched and struggled, he was suddenly aware that he felt no fear, only exhilaration.


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[Assistant] Through the roaring of the blood in his ears, he could hear the cats around them wailing with excitement. Then, Rusty felt his collar tighten around his neck.


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[Assistant] Longtail had gripped it between his teeth and was tugging, and tugging hard. Rusty felt a terrible pressure at his throat. Unable to breathe, he started to panic.


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[Assistant] He writhed and twisted, but each movement only made the pressure worse. Wretching and gulping for air, he summoned up all his strength and tried to pull away from Longtail's grip. And suddenly, with a loud snap, he was free.


[User] Please transcribe this text

[Assistant] Longtail tumbled away from him, Rusty scrambled to his paws and looked around. Longtail was crouching three tail lengths away, and angling from Longtail's mouth, Rusty saw his collar mangled and broken.


[User] Please transcribe this text

[Assistant] At once, Blue Star leaped down from the high rock and silenced the noisy crowd with a thunderous cater-wall. Rusty and Longtail remained fixed to the spot, gasping for breath. Clumps of fur hung from their ruffled coats. Rusty could feel a cut stinging above his eye.


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[Assistant] Longtail's left ear was badly torn and blood dripped down his lean shoulders onto the dusty ground. They stared at each other, their hostility not yet spent.


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[Assistant] Bluestar stepped forward and took the collar from Longtail.


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[Assistant] This cat has been released from the hold of his two-leg owners, and is free to join ThunderClan as an apprentice.


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[Assistant] Rusty looked at Bluestar and solemnly nodded his acceptance.


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[Assistant] He stood up and stepped forward into a shaft of sunshine welcoming the warmth on his sore muscles.


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[Assistant] The pool of light blazed bright on his orange pelt making his fur glow.


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[Assistant] Rusty lifted his head proudly and looked at the cats that surrounded him. This time, no cat argued or jeered. He had shown himself to be a worthy opponent in battle.


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[Assistant] Blue Star approached Rusty and placed the shredded collar on the ground in front of him. She touched his ear gently with her nose.


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[Assistant] You look like a brand of fire in this sunlight, she murmured.


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[Assistant] From this day forward, until he has earned his warrior name, this apprentice will be called Firepaw in honor of his flame-colored coat. She stepped back and, with the other cats, waited silently for his next move.


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[Assistant] Without hesitating, Rusty turned and kicked dust and grass over his collar, as though burying his dirt.


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[Assistant] Longtail growled and limped out of the clearing toward a fern shaded corner. The cats split into groups, murmuring to each other excitedly. Hey Firepaw. Rusty heard Graypaw's friendly voice behind him. Firepaw.


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[Assistant] A thrill of pride surged through him at the sound of his new name. He turned to greet the gray apprentice with a welcoming sniff. Great fight, Firepaw, mute Graypaw, especially for a kitty pet.


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[Assistant] Longtail is a warrior, although he only finished his training two moons ago.


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[Assistant] That scar you left on his ear won't let him forget you in a hurry. You spoiled his good looks, that's for sure. Thanks, Graypaw, Firepaw replied. He put up quite a fight, though.


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[Assistant] He licked his front paw and began to wipe clean the deep scratch that stung above his eye. As he washed, he heard his new name again, echoing among the meows of the cats. Firepaw. Hey, Firepaw. Welcome, young Firepaw. Firepaw closed his eyes for a moment and let the voices wash over him. Good name too, Greypaw mewed approvingly, jolting him awake. Firepaw looked around.


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[Assistant] Where did Longtail creep off to? I think it was heading towards Spottedleafs then.


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[Assistant] A low yowl next to the two cats stopped Greypaw mid-speech. They both turned.


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[Assistant] But I can't imagine him being beaten by a kitty pet. He spat the word kitty pet scornfully, then turned and stalked off. Now Darkstripe, Greypaw hissed to Firepaw under his breath, is neither young nor pretty.


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[Assistant] Firepaw was about to agree with his new friend when he was interrupted by a warning yowl from an old gray cat sitting at the edge of the clearing. Small ear smells trouble, Graypaw meowed, immediately alert.


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[Assistant] Firepaw barely had time to look around before a young cat crashed through the bushes and into the camp.


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[Assistant] He was skinny and apart from the white tip of his long thin tail, jet black from head to toe. Greypaw gasped, that's Ravenpaw. Why is he alone? Where's Tigerclaw?


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[Assistant] Firepaw looked at Ravenpaw staggering across the floor of the clearing.


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[Assistant] Firepaw whispered to Greypaw, as several other cats raced past him to greet the new arrival.


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[Assistant] Ravenpaw's an apprentice, Tigercloth is mentor, Graypaw explained quickly.


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[Assistant] Ravenpaw went out with Tigerclaw and Redtail at Sunrise on a mission against RiverClan. The lucky furball. Redtail?


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[Assistant] The she-cat spoke calmly, but a look of worry clouded her blue eyes.


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[Assistant] Ravenpaw was still struggling for breath, and his sides heaved fitfully while the dust around him turned red with blood. But still he managed to scramble up onto the high rock and stand beside Bluestar.


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[Assistant] He turned to the crowd of eager faces that surrounded him and summoned enough breath to declare... Redtail... is dead.


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[Assistant] By this he meant a whole mythic place that was a whole world, very populated with a whole geography and a whole ability to map it. If you wanted an example in the modern period, you would look at, uh, uh, the world created it with Star Wars, for example.


[User] Please transcribe this text

[Assistant] The Battle of the Somme raged for four months, each side losing one and a half million men. Nobody gained or lost an inch at the end of that battle. It was just a tragic waste of lives.


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[Assistant] As Gandalf battles to save Frodo, he metaphorically dies and is resurrected as Gandalf the White.


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[Assistant] And this is one of the instances where we can see, uh, Tolkien's, uh, Catholic roots.


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[Assistant] They find the Shire in ruins. It's become an industrial nightmare.


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[Assistant] To arrive at a deeper understanding of the world.


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[Assistant] None of the technologies I'll talk about today would have been possible.


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[Assistant] Thankfully, this tube was just the start. Because something else happens when the electrons here hit the piece of metal inside the tube. Let me show you.


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[Assistant] Now I'm an accelerator physicist, so I design particle accelerators, and I try and understand how beams behave.


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[Assistant] Now, over the last hundred years, there have been far too many examples for me to list them all, but I want to share with you just a few. In 1928,


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[Assistant] If you can get these electrons up to a higher energy, so about a thousand times higher than this tube, the X-rays that those produce


[User] Please transcribe this text

[Assistant] We need to give scientists the time, the space and the means to continue their quest. Because history tells us


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[Assistant] Okay, come here. Come here. Hold on. Hold your horses. Come here. Come here. Nope, nope, nope. We're not doing buck and bronco right now. Hold on, hold on. Hold your horses. Give me a sit.


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[Assistant] There we go. And I'm gonna make a couple other ones.


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[Assistant] Works are very horrible. They are bent, they are crooked, they are ugly. We are told that they are actually elves gone wrong.


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[Assistant] This is what is so unique about Tolkien. He is very good at bringing together Christian and pagan motif.


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[Assistant] Usually a tragic hero, no matter what happens to him, at least he can feel good because he's done the right thing. Frodo could not.


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[Assistant] Many of the Norse sagas are based on family histories, and we find this very engaging combination of historical material and mythological traditions.


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[Assistant] The beginning of the book, he already starts feeling the temptation, maybe putting the ring on and escaping, leaving his friends behind. He passes the test at that stage, but later on the temptation becomes worse and worse.


[User] Please transcribe this text

[Assistant] Human greed, but really amplified, because this is this monstrous creature whose only interest is in gathering gold and keeping it.


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[Assistant] In the Dead Marshes where you have this kind of rotting landscape with bodies of an older war, you definitely get...


[User] Please transcribe this text

[Assistant] This is not anymore the idea of a heroic war. This is the death and devastation. What is left really is just dead men.


[User] Please transcribe this text

[Assistant] So today we're gonna be importing some art assets, like for the grass and buildings, and we're gonna be playing around with tiles.


[User] Please transcribe this text

[Assistant] So we're going to import our tile sprites. So we're going to create two new sprites and hit import.


[User] Please transcribe this text

[Assistant] This is where mine are saved, so we're gonna import this sprite right here. Gonna call it...


[User] Please transcribe this text

[Assistant] SVR tile terrain. So this is the sprite of a tile set that we're gonna create here.


[User] Please transcribe this text

[Assistant] Alright, and let's create the second one. So SP, uh, tile, cottage. Okay, and we'll import that one too. And then we're going to create the corresponding tile sets. And I'm going to call this tile terrain. And we select our terrain sprite. And same for this one.


[User] Please transcribe this text

[Assistant] So we're gonna just change one thing here, and then I just want to show you how tiles work. We'll explore all these a bit more in a second, but


[User] Please transcribe this text

[Assistant] We just have to change the width and height of the tiles, so it'll default to 16. But our ones are 32 by 32. There we go. And you can see at the top left hand corner,


[User] Please transcribe this text

[Assistant] The very first tile, it's kind of, it's not counted, we can't use it. So just keep that in mind, don't put anything that you need there. And we'll do the same for the terrain. So change that to 32 by 32. Cool, and we'll come into the room. We can get rid of actually,


[User] Please transcribe this text

[Assistant] This hideous thing now, because we're not gonna need it for the player anymore, and we don't need a background. So we'll delete it. We actually don't need this background layer either. And we're gonna create a new tile layer. And let's assign this to the terrain. So now, we come over here, we can use a tile to kind of paint onto our game world.


[User] Please transcribe this text

[Assistant] And this is cool because we can have as many different squares that look exactly the same, but they're all using just the same sprite here. And up here we can change the brush size. Let's just fill in the whole room. And you can see our players have disappeared and our NPCs have disappeared.


[User] Please transcribe this text

[Assistant] And that's because the tile layer right now is above our instances layer. So if you check its depth, it has a depth of zero. Whereas our instances, they have a depth of 100. So stuff with a lower depth actually appears closer to the screen.


[User] Please transcribe this text

[Assistant] So if we drag this above it, it's gonna change its depth to be 0 and this to be 100. And they're gonna be closer to the screen.


[User] Please transcribe this text

[Assistant] So if this doesn't quite make sense to you, just picture yourself, let's say in a field.


[User] Please transcribe this text

[Assistant] And if you look off into the distance, maybe about 10 meters away, let's say that you can see a couple trees, and then much, much further than that, on the horizon you can see a mountain line. So those mountains are far deeper in your view. They have a depth that is very high. And the trees, their depth is much lower.


[User] Please transcribe this text

[Assistant] So, exactly the same, the lower your depth, the closer you will be. And the higher your depth, the further back you're gonna be in the game world. Alright, so let's create another tile layer. And I'm also gonna assign this to the terrain.


[User] Please transcribe this text

[Assistant] And let's draw a little path. So if you click and then drag,


[User] Please transcribe this text

[Assistant] You can select multiple sprites and then you can paint on like that.


[User] Please transcribe this text

[Assistant] So, this isn't a great looking path, right? There are these holes in between them. And wouldn't it be really nice if we could get it so that we can just kind of draw a perfect path? And we can actually do this.


[User] Please transcribe this text

[Assistant] Using something in the tileset called autotiling. So let's quit this and let's come to the terrain sprite. And so over here.


[User] Please transcribe this text

[Assistant] There's a couple of things we can do. So the brush builder, it's kind of like before when we were dragging over multiple sprites.


[User] Please transcribe this text

[Assistant] So if I maybe select all of these sprites and then click onto it here, this is going to treat this tree as a brush so that if we come back into the room and come into brushes right here, if we click this, we can place whole trees. And you can just, you know, do that yourself by doing this, but you know, that's a little zero if you want it.


[User] Please transcribe this text

[Assistant] And I'll just close out of this. Okay, so that's the brush builder. Now, another thing that we can do.


[User] Please transcribe this text

[Assistant] Is make tile animations. So if we click that and let's add an animation.


[User] Please transcribe this text

[Assistant] So uhm, we'll just make it four for now. Let me just come down maybe to this water. So.


[User] Please transcribe this text

[Assistant] Let's click here for the first frame. For the second frame, let's make it this one. For the third frame, we'll make it that one. And we'll go back to the water. And let's preview this.


[User] Please transcribe this text

[Assistant] So, we've got some bubbling water or something. So if I come back to the room again, and here, and I come into Libraries, the Animations Library, and I click this, if I run the game, or actually, we can actually just preview the game world here, beat play.


[User] Please transcribe this text

[Assistant] We can see our little animation, so you can have animated tiles like this. But I'm just gonna delete all those cause they look a bit odd.


[User] Please transcribe this text

[Assistant] Get rid of this. But if you want, you can have a look around or you can import other assets and build animated tiles in this way.


[User] Please transcribe this text

[Assistant] But the one I'm most interested in doing is the auto tiles. Okay. So again, let's add a new one.


[User] Please transcribe this text

[Assistant] And I'm gonna make two, so I'm gonna make a grass one and a dirt one.


[User] Please transcribe this text

[Assistant] So the way that we do this is you have to match the template to the corresponding tile that you want. Here.


[User] Please transcribe this text

[Assistant] So this completely white one is gonna be the tile that's completely filled in. So for us, for the grass, that's gonna be this one. And then here, it's gonna be all of it's filled in except for the top left corner. So here, that's gonna be this one. And then the same for that, that's gonna be this one, that one, and we just keep filling it in like this.


[User] Please transcribe this text

[Assistant] So we don't really have one that's exactly like this, so I'm just gonna make that one. Okay, and this one. That one.


[User] Please transcribe this text

[Assistant] And, we're just gonna need a blank.


[User] Please transcribe this text

[Assistant] And again, so the one that's completely filled in, that's this one. That one's gonna be there. And we fill it in exactly the same.


[User] Please transcribe this text

[Assistant] Alright, so that's done, we'll come back to the room. And now, if we come to Libraries, here are our auto tiles. So if we click the dirt one, and we start to paint,


[User] Please transcribe this text

[Assistant] You can see that we can start making a perfect path. Now, this isn't working perfectly because we're missing


[User] Please transcribe this text

[Assistant] A couple of the sprites, so you can see here when we have a sort of junction, it's just using that placeholder one I kind of put in. So if that happens, you might just have to go and fix it up yourself.


[User] Please transcribe this text

[Assistant] And just as a note, I think for making a path, it looks better when the dirt is beneath the grass. So if we just drag this one over there and then we'll erase where the path was, so hit E.


[User] Please transcribe this text

[Assistant] And I'm going to increase this to three. If we just get rid of some of this grass, like that, and I'll fill it in. Yeah.


[User] Please transcribe this text

[Assistant] I'm gonna have, I'm gonna try and keep a lot of my tile layers separate. So I'm gonna have specific layers for the grass and then anything beneath the grass. I'm gonna have ones for like buildings and stuff like that. And I'm gonna organize them in a really specific way. So I'm gonna set up some folders and some tiles.


[User] Please transcribe this text

[Assistant] And I want to show you why it's important to do this because your project can quickly become cluttered if you don't do something like this.


[User] Please transcribe this text

[Assistant] So we're gonna go the four folders that I'm gonna have. So we're gonna have one called terrain. And this is where all our grass and our paths are gonna be. And then I'm gonna have level one.


[User] Please transcribe this text

[Assistant] And this is gonna be everything on top of the terrain. So all of the objects, if we have barrels or chests or anything, the first level of any building, it's gonna be in this.


[User] Please transcribe this text

[Assistant] Alright, and now for another one. Because I'm gonna have two story house. So I'm gonna have level two.


[User] Please transcribe this text

[Assistant] And I'm also gonna have a level 3, but this is just gonna have the roof.


[User] Please transcribe this text

[Assistant] Alright, so we can drag these two into the terrain. And this one into here. And I'm going to call this one T for Terrain, Underground.


[User] Please transcribe this text

[Assistant] So here I'm gonna have, this is gonna be the building, so this is gonna be L1 building. I'm gonna create another one. And this is gonna be L1 decoration, so.


[User] Please transcribe this text

[Assistant] So these decorations are kind of going to be anything that will be on top of the building, but still part of the building. So something like a window. So it'll look something like this. And finally, we're going to have on level one, we're going to have objects.


[User] Please transcribe this text

[Assistant] So these won't be part of buildings, these are just gonna be like, whoops.


[User] Please transcribe this text

[Assistant] Any chests or barrels or any of these kinds of things that we're going to place. So for example, we just put this here. So this is just to show you how things are going to be layered. So you can see these barrels, they appear in front of the house. All right. So moving on in level two, we're going to have L2 building again. So cottage.


[User] Please transcribe this text

[Assistant] We're going to have L2 decorations. So again, for windows. So let's just put a window and I'll put a little building.


[User] Please transcribe this text

[Assistant] And finally, L to roof. And this is kind of the roof that will be here and then we'll have another roof up the top. So I'm gonna put this on the bottom.


[User] Please transcribe this text

[Assistant] Sign this to the cottage. And I'll just put one to show you.


[User] Please transcribe this text

[Assistant] Like that. Okay. So one last thing, you probably noticed our players and everything have disappeared. I want the players to always be in front of all the buildings. So that when we walk up to them, we appear in front.