[User] Please transcribe this text

[Assistant] So this is a mode of knowledge that fits quite nicely with what I've been telling you, uh, in a sort of simplified way about Foucault's understanding of how history works.


[User] Please transcribe this text

[Assistant] And so here you have a version of that right in the character of counsel.


[User] Please transcribe this text

[Assistant] How can the knower know anything when the knower himself or herself is a fragmented person? And I think the fragmenting of knowledge across layers, what do we know? What does Moses know? What does Caldonia know? What does the narrator seem to know? That fragmentation makes it impossible


[User] Please transcribe this text

[Assistant] To imagine a subjectivity for any of these characters that can truly encompass a stable world view.


[User] Please transcribe this text

[Assistant] So that fragmentation of self is another layer of the problem of knowledge. How can you know anything when you're not a stable knower yourself?


[User] Please transcribe this text

[Assistant] I just want to look back to some of the other readings on our syllabus to think about how these problems have been addressed.


[User] Please transcribe this text

[Assistant] So how do you know about the past in Robinson? For Marilyn Robinson?


[User] Please transcribe this text

[Assistant] For her, writing is the transcription of consciousness, of human consciousness. There's an endless present to her work. And when she talks about


[User] Please transcribe this text

[Assistant] Writers from the 19th century, for example, Hawthorne, Dickinson, Emerson, Thoreau. She calls them aunts and uncles. I think it's very telling. It's as if they were part of her family, part of her present. And I think that's indicative of how she thinks of writing and its access to the past. Because writing is


[User] Please transcribe this text

[Assistant] Is continuous with consciousness. You can simply know the past by reading it.


[User] Please transcribe this text

[Assistant] If you read her essays on history, that's fully worn out in the assumptions that she makes.


[User] Please transcribe this text

[Assistant] Uhm, if you think about Cormac McCarthy, how can you know the past? Well, his trans-historical vision suggests that to know the past is simply to know human nature, or to know human nature is to know the past.


[User] Please transcribe this text

[Assistant] So remember those epigraphs about the ancient evidence of scalping.


[User] Please transcribe this text

[Assistant] It suggests that the human tendency towards violence has no origin, has no end. It's a different kind of eternal present. From Robinson's.


[User] Please transcribe this text

[Assistant] And yet it is still one that gives him a seamless access to the past.


[User] Please transcribe this text

[Assistant] So he can make modern, uh, U.S.-Mexico border.


[User] Please transcribe this text

[Assistant] Look very much like, uh, for example, the U.S.-Mexico border in the 1840s. And this is later in his border trilogy when you see the, uhm, nuclear tests in the same, uh, in the same landscape that we've seen all the action of blood meridian.


[User] Please transcribe this text

[Assistant] Philip Roth, how do you know the past? Well this is a major theme of my lecture on Wednesday of last week. How does Nathan know any of Coleman's past?


[User] Please transcribe this text

[Assistant] He has to rely on other narrators. We have to rely on him. I was questioning his credibility as a narrator, as someone who could tell us about the past. So there's that level of problem raised in that novel.


[User] Please transcribe this text

[Assistant] At the same time, like McCarthy, he has a trans-historical understanding of what access to the past would be through the trans-historical theme of desire.


[User] Please transcribe this text

[Assistant] So, desire is the same now as it was in Hawthorne's time. The desire to purify the American libido in the Monica Lewinsky trial.


[User] Please transcribe this text

[Assistant] Is not different for Roth from the spasm of purification that Hawthorne writes about in the Scarlet Letter.


[User] Please transcribe this text

[Assistant] So that is a different vision of what it means to be transhistorical. And I think it allows for Roth, uh, that fearless setting of the contemporary.


[User] Please transcribe this text

[Assistant] He doesn't look to a historical setting.


[User] Please transcribe this text

[Assistant] That's distant from himself. He sees the present as history. And if you believe in the transhistorical, you can make that move.


[User] Please transcribe this text

[Assistant] Because you don't need the distance from history to get objective purchase on it. It's all sort of part of the same story. And then if you think about, uh, the woman warrior.


[User] Please transcribe this text

[Assistant] How do you get a usable past out of the layers and layers of secrecy, partial narration, fragmentation that you get from parents telling you stories about your past and about their past? Well, you have to stitch it together.


[User] Please transcribe this text

[Assistant] So, her argument is that the past is what you make it, uh, usable for.


[User] Please transcribe this text

[Assistant] The past becomes its use for you. She builds a self out of that past.


[User] Please transcribe this text

[Assistant] In the face of these difficulties, empathy and sentiment come to be much more powerful. And I think the writers in this part of the syllabus, this last part of the syllabus, depend a lot on sentiment, and because of that they look back to the 19th century.


[User] Please transcribe this text

[Assistant] Edward P. Jones is very busy using the tools of the 19th century narrative. The omniscient narrator


[User] Please transcribe this text

[Assistant] Is very much characteristic of 19th century novels. So if you read Harriet Beecher Stowe, for example, if any of you have taken English 127A and have read that novel, uh, you'll remember all the very, uh, broad addresses to the reader about what's going on.


[User] Please transcribe this text

[Assistant] There's that omniscient sense that the narrator has all the pieces under her control.


[User] Please transcribe this text

[Assistant] Jones looks back to that tradition and borrows from it.


[User] Please transcribe this text

[Assistant] Also, fearlessly, this has been, since modernism, quite a, a uhm,


[User] Please transcribe this text

[Assistant] So, he's trading modernist limitation of knowledge. If any of you have read Henry James, my favorite example is this novel called What Maisy Knew, which is told in free and direct discourse through the consciousness of a child, Maisy.


[User] Please transcribe this text

[Assistant] Who is the child of an aristocratic family, the parents of whom are always having extramarital affairs. It's a very confusing family, uh, to be living in for this young girl. And the narrative is extremely confusing.


[User] Please transcribe this text

[Assistant] Well, Jones will have nothing to do with that kind of partiality. That kind of limit on perception.


[User] Please transcribe this text

[Assistant] So he has left behind those modernist experiments with transcribing the very limits of human consciousness. And he is up in the God consciousness of the 19th century.


[User] Please transcribe this text

[Assistant] Is that God consciousness any consolation? Well, if we look at page 51, uh, this is just one tiny example. They're all over the place.


[User] Please transcribe this text

[Assistant] This is one of those tiny interpolated stories about the woman who opens the box of walking sticks and Rita is hiding inside. She's escaped from Robin's plantation.


[User] Please transcribe this text

[Assistant] And America had taken her baby. Two innocent beings in the vastness of a world with all kinds of things that could have been taken first. She held nothing against God. God was simply being God. But she could not forgive America and saw it as the cause of all her misery.


[User] Please transcribe this text

[Assistant] So God is seen in this little tiny snippet to be totally arbitrary.


[User] Please transcribe this text

[Assistant] And I think that's the sense you get in most of these passages about the divine.


[User] Please transcribe this text

[Assistant] That God allows violent actions to occur without seeming cause, without reason.


[User] Please transcribe this text

[Assistant] And it's up to the human beings to try to stitch stories together that can make sense of them. And Mary, in this passage, chooses to be angry at America instead, chooses America as the story that will unify these deaths, even in a negative way.


[User] Please transcribe this text

[Assistant] It doesn't offer consolation exactly, but at least it offers a target for her anger.


[User] Please transcribe this text

[Assistant] And now I just want to see, uh, on 176 to look at this with you.


[User] Please transcribe this text

[Assistant] In addition to these tiny, thematic visits to some of these questions throughout the novel,


[User] Please transcribe this text

[Assistant] The question of stitching together, can you stitch together the events of the world according to some larger consciousness? This becomes a question, uhm, with formal implications.


[User] Please transcribe this text

[Assistant] This is in the middle of 176. If you remember, this is about the trial of Jean Broussard who has killed his partner. He is the original, uh, person who brought Moses into Manchester County.


[User] Please transcribe this text

[Assistant] We've just at the top of page 176 heard about what happened to Broussard's family in France.


[User] Please transcribe this text

[Assistant] If Om Jorgensen, this is the partner,


[User] Please transcribe this text

[Assistant] Along with most of the judicial records of the 19th, of 19th century Manchester County were destroyed in a 1912 fire that killed 10 people, including the Negro caretaker of the building where the records were kept.


[User] Please transcribe this text

[Assistant] When that man, Arthur Brindle, returned from college. Okay, I'm not going to go into Brindle's story quite yet. Notice how sentence by sentence


[User] Please transcribe this text

[Assistant] We get from the erasure of the past, there are no records for a whole century because of this fire.


[User] Please transcribe this text

[Assistant] To historical detail that makes us, make us ask uhm, where the details come from.


[User] Please transcribe this text

[Assistant] Destroyed in a 1912 fire that killed ten people, including the Negro caretaker of the building. It gets more and more specific where the records were kept. And five dogs and two horses. Animals who you'd think maybe wouldn't be part of the public record. Their loss wouldn't necessarily be recorded.


[User] Please transcribe this text

[Assistant] We're told, even in the absence of the trial papers, that it took one day, and then it gets even more specific, actually part of the day, and more specific still. Which part of it was in the morning?


[User] Please transcribe this text

[Assistant] The regular trial, jury deliberation in the afternoon. It was a summer afternoon. We know more and more and more as we go from sentence to sentence. How do we know all that? How does this narrator know all that? Where does this knowledge come from?


[User] Please transcribe this text

[Assistant] The nudge becomes more and more intimate as this passage goes on.


[User] Please transcribe this text

[Assistant] As we learn about Arthur Brindle, his insomnia, the way he liked to talk to his wife as a mode of relaxing himself before trying to sleep. And then we get his reflection finally on the trial.


[User] Please transcribe this text

[Assistant] And why Broussard was convicted, and this is on 177. Says it wasn't, uh,


[User] Please transcribe this text

[Assistant] It was not the insistence on his American citizenship that was the problem. It wasn't the fact that his partner, uh, wasn't an American citizen that was the problem. It was the accent.


[User] Please transcribe this text

[Assistant] The accent gave him, quote, the stench of a December. You want to know where that quotation comes from? It feels like we're hearing Broussard's voice. Who is there with them in bed to tell us this?


[User] Please transcribe this text

[Assistant] Everything Broussard said came out warped because of the accent, even when he spoke his own name. The jurors, the merchant told his wife, would have been able to accept why the partner was killed if Broussard had sat on the stand and told his whole story without an accent.


[User] Please transcribe this text

[Assistant] Not innocence, but the way he should not be convicted, and yet he votes with the others to convict him. He tells the wife, uh, this. We hear the case without accent, but when we do hear the accent, it's very telling where we hear it.


[User] Please transcribe this text

[Assistant] Uhm, see, see Mr. Bill, he's, look, he's talking to Robin's. Finest humans.


[User] Please transcribe this text

[Assistant] Good humans, the finer of the slaves, Broussard said. But, Monsieur Bill, they are finer human beings. And so on.


[User] Please transcribe this text

[Assistant] It's in those moments that he speaks something closest to the truth. Right? That we can hear him speaking to us.


[User] Please transcribe this text

[Assistant] The truth of slavery and to his interlocutors the truth of slavery. It's the accent that actually reveals the truth.


[User] Please transcribe this text

[Assistant] The narrator that doesn't speak with an accent, we hear the critique of slavery shining through that the people in the situation living


[User] Please transcribe this text

[Assistant] Uh, living there and listening to his accent cannot hear.


[User] Please transcribe this text

[Assistant] But why? Remember that little sentence I read at the beginning? If Om Jorgensen, the murdered man, had any heirs, no one knew about them. What an odd caveat.


[User] Please transcribe this text

[Assistant] If this narrator knows all this, why doesn't he know about Jorgensen's heirs? His family?


[User] Please transcribe this text

[Assistant] So what accounts for the lapses in knowledge? How do we know where this knower is situated?


[User] Please transcribe this text

[Assistant] So I'm gonna stop there, but before you pack up, what I'd like you to think about for next time is what it means to make something so that it exists.


[User] Please transcribe this text

[Assistant] What is the status of those things that are made with care and intention?


[User] Please transcribe this text

[Assistant] And made as whole objects. So think about the art forms, the different art forms in the novel and, and think about those individual small stories and the whole novel itself.


[User] Please transcribe this text

[Assistant] Always look very carefully to make sure you're not making a mistake about something or someone.


[User] Please transcribe this text

[Assistant] Freeze! Put your hands in the air. Slowly.


[User] Please transcribe this text

[Assistant] The one with the gun. We're with the Bruletown watch. I'm Alicia. Alicia Melchiot.


[User] Please transcribe this text

[Assistant] So, I'm wondering what you've been writing in that little book you've got there. Imperial spies are in the area.


[User] Please transcribe this text

[Assistant] Yes, oh, I know. And you know there's a war on, don't you?


[User] Please transcribe this text

[Assistant] Alright then, Mr. Artist. We'll talk about fish sketching down at the station. Take him away.


[User] Please transcribe this text

[Assistant] I apologize. But I was just doing my job, you know. I saw you with the notebook and thought you were a spy. Again, I'm really sorry about that.


[User] Please transcribe this text

[Assistant] Now, go keep watch and stay alert.


[User] Please transcribe this text

[Assistant] So it's begun. I'll do whatever it takes to protect the people of this town. I'll do it. Even going to war, I'll do it.


[User] Please transcribe this text

[Assistant] Almost done. I only need to take the everyday basics.


[User] Please transcribe this text

[Assistant] I just wanted to apologize. For before. Uhm, here, this is for you.


[User] Please transcribe this text

[Assistant] I work at the bakery. Well, I did until the war started anyway. It's where I live too.


[User] Please transcribe this text

[Assistant] That's preserved bread, so it's pretty hard. Heat it up before you eat it, alright?


[User] Please transcribe this text

[Assistant] He's right, we just met. I'm not his girlfriend, just his hero. Although I'm really hoping to be his friend.


[User] Please transcribe this text

[Assistant] My father, Tamer. He was an engineer. The general's tank was his creation.


[User] Please transcribe this text

[Assistant] No, I don't mind at all. I was blessed with two wonderful fathers.


[User] Please transcribe this text

[Assistant] Why don't you see her off, welts? I can take care of the rest of this on my own.


[User] Please transcribe this text

[Assistant] So Welkin, I'm curious, are you gonna join the army like your father?


[User] Please transcribe this text

[Assistant] Our fathers have left us something. Something that might get us out of this mess.


[User] Please transcribe this text

[Assistant] Here it is, the Edelweiss. Tamer built it especially for General Gunther.


[User] Please transcribe this text

[Assistant] I thought I would be ready for this. I knew war meant this might happen.


[User] Please transcribe this text

[Assistant] And did you just say beetle? Uh, welkin? What kind of girl wants to hear that she looks like a buck?


[User] Please transcribe this text

[Assistant] I plan to keep wearing it until I can get back to manning the ovens again.


[User] Please transcribe this text

[Assistant] Ma'am. Galleon Militia Enlistee Alicia Melchiot. Also reporting for duty.


[User] Please transcribe this text

[Assistant] Maintaining and operating the aid device will be my responsibility from now on.


[User] Please transcribe this text

[Assistant] The tank's hangar space is just through here, I was just carrying some ragnite fuel back.


[User] Please transcribe this text

[Assistant] It's used to power the tank, and also for the turret mounted cannon rounds.


[User] Please transcribe this text

[Assistant] Seems like everything is Ragnite powered these days. That stuff is everywhere. Not enough of it for some people though. It's the source of a lot of conflict.


[User] Please transcribe this text

[Assistant] Oh, that's right. I had something to give you, Wilkes.


[User] Please transcribe this text

[Assistant] I'll do a spot check on the aid device now, to make sure it's ready to go at any time.


[User] Please transcribe this text

[Assistant] Look, you can't just sit here while your squad's tearing itself apart. It's not right. Now get a move on. Sir.


[User] Please transcribe this text

[Assistant] Yes, I'll get to work on it now. Alright, I'll trust you on this.


[User] Please transcribe this text

[Assistant] It will only hold for a few minutes, but it should be enough to cross.


[User] Please transcribe this text

[Assistant] Then Lieutenant Gunther will send up a flare, signaling the rest of us to follow by boat.


[User] Please transcribe this text

[Assistant] I know the day will come when darksins can join society as equals.


[User] Please transcribe this text

[Assistant] Okay, I'll be right there. Well flowers, do your stuff.


[User] Please transcribe this text

[Assistant] Sure, Welkin. What are these, some kind of nuts?


[User] Please transcribe this text

[Assistant] Still, that song was really pretty. I'd love to hear the whole thing sometime.


[User] Please transcribe this text

[Assistant] We're not alone here. I'll go investigate. Put your hands in the air!


[User] Please transcribe this text

[Assistant] What's your story? Get separated from your mom?


[User] Please transcribe this text

[Assistant] As of today, you're a member of Squad 7, little guy.


[User] Please transcribe this text

[Assistant] See what she's wearing? Take a good look at that shawl. She's a dartson.


[User] Please transcribe this text

[Assistant] Gaelio's mongrels have reclaimed Vassel Bridge. Are the men of our defensive units cowards?


[User] Please transcribe this text

[Assistant] Eh, whatever, he'll learn soon enough. Only one thing matters out there in the field, and that's experience.


[User] Please transcribe this text

[Assistant] We won't fight alongside no Darkson. What about that can't you understand?


[User] Please transcribe this text

[Assistant] Another thing we ain't doing is taking orders from some hotshot greenhorn.


[User] Please transcribe this text

[Assistant] Your funeral, boss man. You sure about this? Yes I am.


[User] Please transcribe this text

[Assistant] Alright, let's hear this brilliant plan.


[User] Please transcribe this text

[Assistant] Swimming a couple of foot soldiers over there ain't gonna do much if we got no tanks.


[User] Please transcribe this text

[Assistant] The kid's crazy! Drove a damn tank right into the stinkin' river!


[User] Please transcribe this text

[Assistant] You could say that again. Woods are so thick you can't tell up from down with these trees.


[User] Please transcribe this text

[Assistant] Hmm, the grass has been trampled down, looks like. What's the deal with that?


[User] Please transcribe this text

[Assistant] Know what? This one strange place. Rocks with holes in them. Dug up ground as far as the eye can see.


[User] Please transcribe this text

[Assistant] Can't see what kind of magic it used to burn up this much land though. It's just crazy.


[User] Please transcribe this text

[Assistant] Anyway, as I was saying, we are in the middle of the Badlands, and what exactly are we doing here?


[User] Please transcribe this text

[Assistant] What time do you get up? I get up at 6. I go to school at 7.30. Wow! You're an early bird. Thank you.


[User] Please transcribe this text

[Assistant] Look, it's a new bike. What a nice bike! Yes, it's very nice. Whose bike is this? It's Mike's.


[User] Please transcribe this text

[Assistant] Why? Why murder everyone? They forced everyone to go into this building. Then set it on fire. For what?


[User] Please transcribe this text

[Assistant] These dolls are darks and good luck charms. I wanted to give them to you and Rosie.


[User] Please transcribe this text

[Assistant] I've never been bug hunting before. I got a little mud plastered.


[User] Please transcribe this text

[Assistant] I brainstormed on what you might like best, and this is what I finally came up with.


[User] Please transcribe this text

[Assistant] Not the most romantic gift ever, but it seemed right for you.


[User] Please transcribe this text

[Assistant] If we modify something I've been developing, it may provide our ground troops protection. I'll go speak with welts about it now. Goodbye.


[User] Please transcribe this text

[Assistant] Yeah, this battle just got a lot less scary. Thanks, Isara.


[User] Please transcribe this text

[Assistant] Well that's it, Welkin. No sign of the enemy here either. I searched all over. Looks like they've cleared out of the rule.


[User] Please transcribe this text

[Assistant] Yeah. But if Ysara saw it as it is now, I think she'd feel sad. I mean, look at it.


[User] Please transcribe this text

[Assistant] Empty of all the people who lived here, the mill just barely standing.


[User] Please transcribe this text

[Assistant] I was right. And if I let myself get depressed? Well, Isara wouldn't want that.


[User] Please transcribe this text

[Assistant] Right. And I'll be there to help you. You know it's funny, whenever I talk to you, I feel like everything's going to be fine.


[User] Please transcribe this text

[Assistant] Really? Thank you, Welkin. Me too. I'm glad we were able to meet and work together.


[User] Please transcribe this text

[Assistant] Uhm, I grew up in an orphanage. I don't have a family, and I always thought I was alone. But Welkin showed me I was wrong.


[User] Please transcribe this text

[Assistant] Before a big battle like this, it's scary. I figure I feel just like all of you do. But when I think I'm here alongside my family, I feel strong enough to fight.


[User] Please transcribe this text

[Assistant] Right. I'll go gather the rest of the squad.


[User] Please transcribe this text

[Assistant] Well, it's... I'd feel more comfortable if we could talk alone.


[User] Please transcribe this text

[Assistant] Ah, none of this, blah blah blah. Okay, we'll learn some food names first. Let's go through the first one. Kobe beef. Kobe beef. Kobe beef. Kobe beef is the beef from, uh, Japan.


[User] Please transcribe this text

[Assistant] Ported from Japan, America, and, uh, this is, uh, kind of expensive one. The next one, arugula.


[User] Please transcribe this text

[Assistant] Which would, which one do you think? Of course, the second group. Okay, so the whole sentence goes. Now, that's what I'm talking about. None of that goes.


[User] Please transcribe this text

[Assistant] And it was an accident. And it was an accident. And it was an accident. Not murder. And it was an accident.


[User] Please transcribe this text

[Assistant] But you don't have to worry. But you don't have to worry. As long as we remember to look both ways before we cross the street, that will never happen to us. But you don't have to worry.


[User] Please transcribe this text

[Assistant] As long as we remember to look both ways before we cross the straight, that will never happen to us.


[User] Please transcribe this text

[Assistant] The game is no limit poker, five Kamino cards, two in the old. Sorry, what? Two cards in the old.


[User] Please transcribe this text

[Assistant] Minimum stake is one million dollars. Lines begin at five and ten thousand. This game is winner take all. There are no prizes for second place. Good luck to you all.


[User] Please transcribe this text

[Assistant] Isara, aren't you gonna welcome your brother back home?


[User] Please transcribe this text

[Assistant] Uhm, singing, I guess. I like to sing. And listen to other folks.


[User] Please transcribe this text

[Assistant] What did you do yesterday, Mike?


[User] Please transcribe this text

[Assistant] I made cookies yesterday. I brought cookies for you.


[User] Please transcribe this text

[Assistant] The Empire claimed the earliest victories, and most of Galia with them.


[User] Please transcribe this text

[Assistant] Their struggles since have bested the detachments holding each location.


[User] Please transcribe this text

[Assistant] Send word to gather our armies on the Nagya plane. Sylvaria.


[User] Please transcribe this text

[Assistant] The time has come to show these roofs your power.


[User] Please transcribe this text

[Assistant] Once we conquer Galia, you shall have independence for your homeland, Jaeger. But until then, you have no country of your own. You shall serve us with your might.


[User] Please transcribe this text

[Assistant] Selvaria, you have never failed me in your loyalties thus far.


[User] Please transcribe this text

[Assistant] I exist because you exist, one aside the other. You go with my trust.


[User] Please transcribe this text

[Assistant] Then awaken the powers within you. I betrayed the trust you placed in me.


[User] Please transcribe this text

[Assistant] Now is the time to show the world the power that blood holds.


[User] Please transcribe this text

[Assistant] Go forth, Sylvaria. Bring victory to my army.


[User] Please transcribe this text

[Assistant] You should have spoken to me first. Why? It was a personal choice for me. So what happens to me?


[User] Please transcribe this text

[Assistant] Well, then I'll just go to Richmond and play for you. No. Well, why not? Dad, you've always been my coach. This is a great school, Damien. Puts you in a great position for college. Dad, I'm a freshman! Just because I'm coaching at Richmond doesn't change our plans for your future, alright?


[User] Please transcribe this text

[Assistant] Sire. They seek to push our soldiers past the border. And the total of their forces approach those of our own.


[User] Please transcribe this text

[Assistant] The fault lies with me. This would be over had I but won at Nagyar. Your grace, grant me another chance. I beg you. Please allow me to fight for your glory, sire.


[User] Please transcribe this text

[Assistant] It looks like fate is toying with us. You have already defeated me once, as of Valkyria. Still, I have come to fight you again. It's a matter of pride. But this time, I will face you as a woman. This will be our last time then. One of us is going to die here. Now. We fight!


[User] Please transcribe this text

[Assistant] You bear a heavy burden without the aid of purpose. So I was defeated by a girl without commitment to a cause.


[User] Please transcribe this text

[Assistant] Do with me what you will. I ask only one thing. Spare the lives of the men you've taken captive. Spare them and let the militia escort them to their fate.


[User] Please transcribe this text

[Assistant] I have found the purpose to justify my life.


[User] Please transcribe this text

[Assistant] The crew you sent with the prisoners. When did they all leave?


[User] Please transcribe this text

[Assistant] Excellent. That should be enough time.


[User] Please transcribe this text

[Assistant] Near the waterfall. Near the waterfall. Waterfall. Waterfall. That place with fish. Near the waterfall.


[User] Please transcribe this text

[Assistant] We watch football together. Mom brings a trace of snacks. We watch football together. We watch football together. Mom brings a trace of snacks. A trace of snacks. We watch football together.


[User] Please transcribe this text

[Assistant] Don't all those places sound like it, sound like to you.


[User] Please transcribe this text

[Assistant] Sound like it to you, yeaah. Sound like something, sound like, yeaah.


[User] Please transcribe this text

[Assistant] Uh, please answer, answer his questions, his some select questions in a great way. Alright? Love you guys. Muah! See you next time.


[User] Please transcribe this text

[Assistant] Every man in this room tonight has done this at least once.


[User] Please transcribe this text

[Assistant] I was careless. So that was Lelouch's tactical plan. But how could he sacrifice his own forces?


[User] Please transcribe this text

[Assistant] As a leader for your company, you will be tasked with making larger strategic creative choices.


[User] Please transcribe this text

[Assistant] That help evolve how the audience, the public, understand your brand.


[User] Please transcribe this text

[Assistant] Your brand has to be at the core of all your creative decisions. What is it? What does it stand for? And how do you move it forward?


[User] Please transcribe this text

[Assistant] I picked out some covers to give you some insight on how I have made some larger decisions on behalf of Vogue over the past 30 years that has kept it as a leader in the publishing and the fashion industry.


[User] Please transcribe this text

[Assistant] So this is my very first cover during my editorship at Vogue. It was of a wonderful young model called Michaela, whom is from Israel.


[User] Please transcribe this text

[Assistant] And this was not actually photographed as a cover, so always remember to expect the unexpected and not always to be locked in to your way of thinking. Sometimes surprises, uh, are best.


[User] Please transcribe this text

[Assistant] This was a shot that was photographed for Inside the Magazine. It was at a time when Vogue was only showing iconic Richard Avedon cover pictures of models. Very tight crop, big jewelry, big smile. And it was very much at a time when the belief was the girls always had to be looked directly at the camera.


[User] Please transcribe this text

[Assistant] So I think when you're making a big change, it's always important to remember that people expect change. They want change. They're looking for change. They may not know what it is, but it's in the air.


[User] Please transcribe this text

[Assistant] When this shoot came in, the whole shoot was absolutely enchanting and lovely and full of energy and very immediate in its attraction that I thought that this would make a great cover and


[User] Please transcribe this text

[Assistant] The powers that would be were a little bit surprised. The printers even questioned this picture. But it, it made a statement. It made a statement that it was a different time. We had a, uh,


[User] Please transcribe this text

[Assistant] A different view on fashion that we wanted to be much more accessible, much more free. It almost had a Instagram feel about it because it was shot in such a spontaneous way.


[User] Please transcribe this text

[Assistant] And the eyes were not completely open, they were actually almost closed. She was wearing an amazing, amazing couture t-shirt by Christian Lacroix with the cross embroidery.


[User] Please transcribe this text

[Assistant] And a pair of jeans from Guess. And we actually asked Gigi Hadid to mimic this cover because it has become such an iconic cover for fashion followers throughout the world.


[User] Please transcribe this text

[Assistant] The model that we use on this cover telling us about her...


[User] Please transcribe this text

[Assistant] Her current state and she's married, I think she has many children, she's a psychologist, but this remains for her as well as for us a landmark moment.


[User] Please transcribe this text

[Assistant] So for my very first September issue, I had decided to put Naomi Campbell on the cover because to me she represented


[User] Please transcribe this text

[Assistant] Everything that was happening in fashion at that time, she was...


[User] Please transcribe this text

[Assistant] Beautiful. She was fun. She loved fashion. She was every designer's favorite model. She was the girl of the moment to the nth degree.


[User] Please transcribe this text

[Assistant] And at that time when you worked at Condé Nast, you had to present every issue to almost like a number of...


[User] Please transcribe this text

[Assistant] Uh, like to abort. And it was all men, and it was all men in suits. And I rather naively came along with my, uh, issue. And you had to hold up pieces of paper, uh, then because there was, uh,


[User] Please transcribe this text

[Assistant] No way to show it digitally or that not crossed anybody's mind at that point. And at the end of my presentation, after I'd shown the whole issue and proudly shown my September cover, one of the people present,


[User] Please transcribe this text

[Assistant] Looked at me with great surprise and said, are you putting an African American girl on the September issue? Are you not concerned about sales? And to be completely honest, I had not even crossed my mind. I had felt that this Naomi was the right choice for all the right reasons, regardless of the color of her skin.


[User] Please transcribe this text

[Assistant] It did sell and it was a great cover and I think it's important to remember always to follow your instincts and not worried about insensitive thinking or thinking that may not be in step with the times. I think it's your job to lead and to think this is what I want to do, this is what's right for my publication or


[User] Please transcribe this text

[Assistant] My collection, whatever it may be. Don't listen unless you have deep concerns when you're making big choices. You just have to lead from the heart.


[User] Please transcribe this text

[Assistant] Vogue obviously has to respond to whatever might be happening in the world and we were very aware at this particular moment, I think it was in the early 90s, that the economy was suffering. So we decided that we would do an issue where every single item in that issue was $500 or less.


[User] Please transcribe this text

[Assistant] So we were trying to think about what to do on the cover and I, we came up with the idea since the supermodels were so important at the time to get together a group and put them in


[User] Please transcribe this text

[Assistant] Cute pair, a little striped top, a pair of shorts, and shoot them together. This was taken by the wonderful Herb Ritz, who understood better than anybody, I think, how to make women look wonderful.


[User] Please transcribe this text

[Assistant] It was also at a moment when the supermodels ruled. And I think it was through looking at all these girls, becoming celebrities in their own right.


[User] Please transcribe this text

[Assistant] On the catwalk, in the front row, being pursued by paparazzi on the cover of countless magazines, that a generation of actresses decided that maybe this would make sense also for them to embrace fashion, to become part of the world of fashion, and also I'm sure it looked like it was a lot of fun.


[User] Please transcribe this text

[Assistant] And that coincided with the moment when the supermodels, uh, were


[User] Please transcribe this text

[Assistant] Not being replaced by a younger generation of models who wanted to follow in their footsteps. They were actually being replaced by girls that didn't want that kind of stardom or that celebrity. They were quite happy just to be models and to do their jobs and to go home and lead more normal lives and not to live out every second of their lives in the public spotlight.


[User] Please transcribe this text

[Assistant] So to me this cover was joyous, it was positive at a time when we needed it, uhm, and it represented a particular moment in time. As the 90s came to a close,


[User] Please transcribe this text

[Assistant] We became more and more drawn to the idea of putting celebrities on the cover because they were really...


[User] Please transcribe this text

[Assistant] Becoming part of our world, they were attending shows, they were becoming friends with the designers, they were loving fashion. They were not in any way, as I think previously in the past, they may have been scared of fashion or not feeling it was part of their identity and they wanted it only to be known.


[User] Please transcribe this text

[Assistant] Uh, for their work. It's not that their work was any less significant, but they also understood in a way that when they were on the red carpet or doing an interview


[User] Please transcribe this text

[Assistant] They could express their own personality maybe more clearly when they were playing a role. So it just happened at the right time and I think that's something


[User] Please transcribe this text

[Assistant] For all of you watching to remember, it's just to keep your ears to the ground and your eyes open about a switch that might be happening. It might be slowly, but be aware. Always keep your antenna out there to see what might be changing in the culture.


[User] Please transcribe this text

[Assistant] This next cover is the amazing Nicole Kidman, photographed by the great Irving Penn, one of the most magnificent photographers who ever


[User] Please transcribe this text

[Assistant] For many reasons, but most of all because I think it indicated the love affair between Irving Penn and Nicole Kidman. They both adored and worshipped each other.


[User] Please transcribe this text

[Assistant] And they had so much respect for each other as artists, and it took all my convincing.


[User] Please transcribe this text

[Assistant] To persuade Irving Penn to shoot this as a cover. But then he turned the tables on me because he said he would only allow vogue.


[User] Please transcribe this text

[Assistant] And he was, I think, in his 80s at the time, and he deserved great respect, great admiration, and frankly, he deserved his own way. He would only allow us to publish this image if there were to be no cover lines at all.


[User] Please transcribe this text

[Assistant] So this went back and forwards for several days and finally I was able to convince him to at least say Nicole Kidman photographed by Irving Penn.


[User] Please transcribe this text

[Assistant] But I love the chic of it. I love the style of it. I love the sense of almost another era of it.


[User] Please transcribe this text

[Assistant] Most of all I just love the beauty of it. And to me this is one of the great Vogue images. He's a photographer that we worked with that I miss every single day because he was a master.


[User] Please transcribe this text

[Assistant] And I think it's important to remember when you come across great talent, which is rare and an extraordinary gift if you are


[User] Please transcribe this text

[Assistant] The September 2007 cover of Sienna Miller remains one of my very favorites because Sienna is such a perfect subject for Vogue. She loves fashion, she's fun, she's fearless, she's a wonderful actress she takes.


[User] Please transcribe this text

[Assistant] Riss and all her roles, but we had to use all of her good nature with this particular shoot because not only was she being photographed by Vogue and being pursued by countless paparazzis, it was also the subject of a wonderful documentary on Vogue, uh, that was created by the great R.J. Cutler called The September Issue.


[User] Please transcribe this text

[Assistant] So they were in Rome for this shoot, being photographed with statues and cardinals and pasta and good wine and it was not only wonderful fun for us, it was wonderful fun I think for the film and Sienna is


[User] Please transcribe this text

[Assistant] Was such a good sport to put herself through this, and I will be forever grateful.


[User] Please transcribe this text

[Assistant] So Rihanna's been on the cover of Vogue several times, but this remains one of my very favorite images of her because it's an image that has so much power. She's in this amazing mermaid dress posing against the sea with this extraordinary red hair. And like most of


[User] Please transcribe this text

[Assistant] The great fashion editors, the great sittings editors at Vogue, Tony Goodman did not tell me.


[User] Please transcribe this text

[Assistant] Any of her plans. I had no idea that the hair was going to be red or that indeed that she would be wearing this.


[User] Please transcribe this text

[Assistant] Incredible dress. I had something else completely different in mind, but it's very important to remember to love a surprise because often what is conjured up on set between the magic of the photographer, the magic of the editor, the magic of the subject,


[User] Please transcribe this text

[Assistant] Is so much more than one could possibly imagine, uh, back at the offices of Vogue. So remember, you're only as good as your team. You're only as good as the creative process. And this was a remarkable image that I think


[User] Please transcribe this text

[Assistant] No one could walk past a newsstand in the airport or wherever it may be and miss this cover. It says fashion, it says style, it says Rihanna, it says all the right things. And it had a huge impact.


[User] Please transcribe this text

[Assistant] When we first began to put our covers and inside stories up on the website, I think we were overly anxious about the idea that we would scoop ourselves and we would wait until it was the date of publication.


[User] Please transcribe this text

[Assistant] And then release everything at the same time. And as time went by, we realized this was actually really ridiculous thinking. And it made much more sense to post the cover and Inside Stories ahead of publication for print.


[User] Please transcribe this text

[Assistant] Because A, it reached a far wider audience, but B, it started people talking about something and looking forward to seeing it when the print


[User] Please transcribe this text

[Assistant] Publication appeared. So that is an example of learning how to move and to change and to recognize one's mistake and to


[User] Please transcribe this text

[Assistant] Turn things around and now we use and work with digital in a way that is much more helpful and I think much more


[User] Please transcribe this text

[Assistant] It's very instrumental in having people excited about an issue that might be coming out. A key example of this way of thinking is our March 2019 cover of Justin and Hailey Bieber.


[User] Please transcribe this text

[Assistant] Obviously they are an incredibly photogenic young couple, perfect for print, but catnip to social media. And in fact, when we put this cover up on Vogue.com, it was our highest performing cover in our history. Obviously today you can get response immediately.


[User] Please transcribe this text

[Assistant] And that's very rewarding and important and it's wonderful to hear, to see, to follow.


[User] Please transcribe this text

[Assistant] But at the same time, I can't remember.


[User] Please transcribe this text

[Assistant] The response. You have to do what you feel is right. And


[User] Please transcribe this text

[Assistant] No audiences out there can tell you that. They can make you feel good about decisions that you've made. They can make you feel, oh, maybe that was wrong. But you cannot be glued to your social media following or your Twitter.


[User] Please transcribe this text

[Assistant] Twitter feed or anything like that and say, oh, that's trending, I should do that. It just is never ever ever gonna work.


[User] Please transcribe this text

[Assistant] Shot for Vogue. And we were, we have always been huge fans of her personal style and her acting abilities, but also in her belief in activism for women of color. So unlike, uh,


[User] Please transcribe this text

[Assistant] Sometimes when we shoot a cover, Lupita turned up at the Vogue offices completely prepared. She had a mood board. She had...


[User] Please transcribe this text

[Assistant] Uh, discovered wonderful African designers from her country. She was very, very much involved, uh, in the process to the point of even doing a video for Vogue.com where she cooked with her family.


[User] Please transcribe this text

[Assistant] So we were thrilled to be able to share with our readers the backstory of Lupita and her incredible success. But it was very moving to me how, what an icon she has become to her home country and how much she represents to them. This shoot was exceptionally strong.


[User] Please transcribe this text

[Assistant] But nothing was more iconic than the simplicity and beauty of the cover.


[User] Please transcribe this text

[Assistant] And I think covers with a message like that is also something for all of you to be thinking about. Like what is it that you are trying to say? What is it that you are trying to represent? You need to have a voice. And we felt that this cover was so true to Lupita's own voice.


[User] Please transcribe this text

[Assistant] First lady, we covered her presidential campaign, we've covered her many, many times. But I think the most extraordinary reaction that we have had


[User] Please transcribe this text

[Assistant] And that was in the middle of the Monica Lewinsky situation. So we approached the shoot with Annie Leibovitz with great respect and we're very grateful that Mrs. Clinton had agreed to work with us on this particular shoot.


[User] Please transcribe this text

[Assistant] And we didn't go into that shoot thinking that it was going to be a cover. We just thought this would be a wonderful story for a December issue. And it was actually


[User] Please transcribe this text

[Assistant] Oscar DeLaurenta who called me, he knew that the shoot was going on because he had made a dress for us and he said, Anna, you really need


[User] Please transcribe this text

[Assistant] So we, we did the shoot. The shoot was extraordinary. It was beautiful. And when it was published, I mean, the reaction was globally.


[User] Please transcribe this text

[Assistant] Unbelievable. I mean there wasn't anybody that wasn't talking about the cover. And I think it was because it was a risk, obviously, because when you do anything that's a little bit political.


[User] Please transcribe this text

[Assistant] It, it's a risk and there are a lot of people that don't agree with that person's stand on many things.


[User] Please transcribe this text

[Assistant] But I think we painted the portrait of a woman.


[User] Please transcribe this text

[Assistant] Determination. And that resonated with women. And yes, at the time it was considered a risk, but looking back at it many years later, I would have been an idiot. An idiot not to run that cover.


[User] Please transcribe this text

[Assistant] Mrs. Obama has been on the cover of Vogue three times, and she was a gift to Vogue. Well, a gift to women all over the world, but she was...


[User] Please transcribe this text

[Assistant] She loved fashion and she loved our world and she recognized that fashion came from everywhere. She would have J.Crew on one day and a designer the next. And she enjoyed it. So...


[User] Please transcribe this text

[Assistant] We pursued her relentlessly. I think we were on the phone to her campaign office right from the word go. And we were thrilled to have such a fantastic collaboration with her over the years that they were in office and beyond.


[User] Please transcribe this text

[Assistant] These are the three, three of the covers that I am actually most proud of and what was so interesting to see is how


[User] Please transcribe this text

[Assistant] Our audiences loved them and how they always responded to her. And that women all over the world saw a strength and a confidence in Mrs. Obama.


[User] Please transcribe this text

[Assistant] If Damocles reaches satellite orbit, even the Lancelot would be useless against it. To win, we need to stop Schneisel!


[User] Please transcribe this text

[Assistant] You know I've been looking for a new coach to take over for me this season. This is Ken Carter. He went to Richmond. He was a two-sport All-American. Still holds records for scoring, assists, steals, basketball scholarship from George Mason University. We're lucky to have Coach Carter. Now let's give him the respect he's due. They're all yours, Coach. Thank you, sir.


[User] Please transcribe this text

[Assistant] Math. I like math class. I don't like math. What's your favorite subject? My favorite subject is P.E. I like playing sports. I like basketball. I play basketball every day.


[User] Please transcribe this text

[Assistant] I like basketball, too, but I can't play very well. Don't worry. I can help you. Really? How about playing basketball after school? That's a good idea.


[User] Please transcribe this text

[Assistant] That was a great time. Thank you, Jinsu. You're welcome.


[User] Please transcribe this text

[Assistant] Math. I like math class. I don't like math. What's your favorite subject? My favorite subject is P.E. I like playing sports. I like basketball. I play basketball every day.


[User] Please transcribe this text

[Assistant] I like basketball, too, but I can't play very well. Don't worry. I can help you. Really? How about playing basketball after school? That's a good idea.


[User] Please transcribe this text

[Assistant] That was a great time. Thank you, Jinsu. You're welcome.


[User] Please transcribe this text

[Assistant] Mr. Cruz, are you lost sir? What I gotta do to play? Mr. Cruz, you do not want to know the answer to that question. Now as I was saying, as a team, we shot 56% from the line.


[User] Please transcribe this text

[Assistant] 2,500 pushups and 1,000 suicides.


[User] Please transcribe this text

[Assistant] I think you'd flown the night before from L.A. because I think it had been the Oscars the day before. Yeah. So she's on a transatlantic flight, arrived, did a read through. Perhaps you dreamt of me. Perhaps it was you. And I should have you stripped and whipped. I'm waiting.


[User] Please transcribe this text

[Assistant] I'm ready for the Russian ambassador. Who did your makeup? We went for something dramatic. Do you like it? You look like a badger. Oh.


[User] Please transcribe this text

[Assistant] I do remember one time you did say to me, cause I was playing a bit, saying a bit.


[User] Please transcribe this text

[Assistant] I was being threatening to the Queen and he said that was just a little X-Men.


[User] Please transcribe this text

[Assistant] In the next three segments we will change gears a little bit and talk about the definition of a PRG. This definition is a really good way to think of a PRG and we will see many applications for this definition. So consider a PRG with key space K that outputs n-bit strings.


[User] Please transcribe this text

[Assistant] In other words, we're gonna define a distribution that basically is defined by choosing a random key in the key space. Remember that arrow with R above it means choosing uniformly from the set script K. And then we output basically the output of the generator.


[User] Please transcribe this text

[Assistant] And what we'd like to say is that this distribution, this distribution of pseudo-random strings is indistinguishable from a truly uniform distribution. In other words, if we just choose a truly uniform string in zero, one to the n, and simply output this string,


[User] Please transcribe this text

[Assistant] We'd like to say that these two distributions are indistinguishable from one another.


[User] Please transcribe this text

[Assistant] Now if you think about it, this sounds really surprising, because if we draw a circle here of all possible strings in zero, one to the n,


[User] Please transcribe this text

[Assistant] Because the seed space is so small, the set of possible outputs is really, really small. It's tiny inside of 0, 1 to the n. And this is really all that the generator can output.


[User] Please transcribe this text

[Assistant] And yet what we're arguing is that an adversary who looks at the output of the generator in this tiny set can't distinguish it from the output of the uniform distribution over the entire set. Okay? That's the property that we're actually shooting for.


[User] Please transcribe this text

[Assistant] We need the concept of a statistical test. So let me define what a statistical test on zero one to the n is. I'm going to define these statistical tests by the letter a. And a statistical test is basically an algorithm


[User] Please transcribe this text

[Assistant] Okay, so all the statistical test does is it basically takes the input x that was given to it, the n-bit string that was given to it, and decides whether it looks random or it doesn't look random. Let's look at a couple of examples.


[User] Please transcribe this text

[Assistant] So the first example basically will use the fact that for a random string, the number of zeros is roughly equal to the number of ones in that string. In other words, the statistical test is gonna say one if and only if


[User] Please transcribe this text

[Assistant] Basically the number of zeros in the given string x minus the number of ones in the given string x is these two numbers are not too far apart. In other words, the difference between the number of zeros and the number of ones, let's just say is less than 10 times the square root of n.


[User] Please transcribe this text

[Assistant] Okay, so if the difference is less than ten times square root of n, the statistical test will say, hey, the string x looks random. If the difference happens to be much bigger than ten times square root of n, that starts to look suspicious and then the statistical test will say, hey, the string you gave me does not look random. Okay, so this is our first example of


[User] Please transcribe this text

[Assistant] Let's look at another similar example. We'll say here,


[User] Please transcribe this text

[Assistant] The statistical test will say 1, if and only if...


[User] Please transcribe this text

[Assistant] Say, the number of times that we have two consecutive zeros inside of x. Well, let's think about this for a second. This basically, again, counts in the string of n bits. It counts the number of times that we see the pattern zero, zero. Two consecutive zeros. Well, for a random string,


[User] Please transcribe this text

[Assistant] What the statistical test will do is it will say, well if the number of zero zeros is roughly n over four, in other words the difference between the number and n over four is say less than ten squared of n, then we will say that x looks random. And if the gap is much bigger than n over four,


[User] Please transcribe this text

[Assistant] We'll say hey this string doesn't really look random and then the statistical test will output zero. Okay, so here are two examples.


[User] Please transcribe this text

[Assistant] So this is a set of statistical tests that basically for random strings, they will output one with very high probability. But for strings that, you know, don't look random, for example, think of the all zero string. For the all zero string, neither one of these tests will output a one. And in fact, the all zero string does not look random.


[User] Please transcribe this text

[Assistant] Let's look at one more example of a statistical test, uh, just to kind of show you that basically statistical tests can pretty much do whatever they want. So here's a third example. Let's say that the statistical test outputs one.


[User] Please transcribe this text

[Assistant] In a random string, you expect the longest sequence of zeros to be roughly of length log n. So we'll say if the longest sequence of zero happens to be less than ten times log n,


[User] Please transcribe this text

[Assistant] Then this test will say that x was random, but if all of a sudden we see a run of zeros that say is much bigger than ten log n, then the statistical test will say the string is not random. Okay, so this is another crazy thing that the statistical test will do. By the way, you notice that if you give this test the all one string,


[User] Please transcribe this text

[Assistant] Okay, so statistical tests don't have to get things right. They can do whatever they like, they can test, they can decide to output random or not, you know, zero or one, however they like.


[User] Please transcribe this text

[Assistant] But before we talk about actually defining security, the next thing we talk about is how do we evaluate whether a statistical test is good or not. So to do that we define the concept of advantage.


[User] Please transcribe this text

[Assistant] And so let me define the advantage. So here we have a generator that outputs n-bit strings, and we have a statistical test on n-bit strings. And we define the advantage


[User] Please transcribe this text

[Assistant] Of this generator, I'll denote it by advantage sub PRG. The advantage of the statistical test A relative to the generator G, I'll define it as follows. It's basically the difference between two quantities.


[User] Please transcribe this text

[Assistant] The first quantity is basically we ask how likely is the statistical test to output one.


[User] Please transcribe this text

[Assistant] Now we ask how likely is the statistical test to output 1 when we give it a truly random string? So here r is truly random in 0, 1 to the n. Okay?


[User] Please transcribe this text

[Assistant] And yeah, we look at the difference between these two quantities. Now you realize because these are differences of probabilities, this advantage is always gonna lie in the interval zero one. So let's think a little bit about what this advantage actually means. So first of all, if the advantage happens to be close to one, well what does that mean? That means that somehow the statistical test A behaved differently


[User] Please transcribe this text

[Assistant] When we gave it pseudo-random inputs, when we gave it the output of the generator,


[User] Please transcribe this text

[Assistant] For when we gave a truly random input, right? It somehow behaved differently. In one case,


[User] Please transcribe this text

[Assistant] It output one with a certain probability, and in the other case it output one with a very different probability.


[User] Please transcribe this text

[Assistant] Okay, so somehow it was able to behave differently. And what that really means is that this statistical test can basically distinguish the output of the generator from random.


[User] Please transcribe this text

[Assistant] Okay, so in some sense we'll say that the statistical test broke the generator G because it was able to distinguish the output from random. However, if the advantage is close to zero,


[User] Please transcribe this text

[Assistant] Well what does that mean? That means that basically the statistical test behaves pretty much the same on pseudo-random inputs as it does on truly random inputs.


[User] Please transcribe this text

[Assistant] And basically there we would say that A could not distinguish the generator from random.


[User] Please transcribe this text

[Assistant] Okay, so this gives you a little bit of intuition about why this concept of advantage is important. It basically tells us whether A was able to break the generator, namely distinguish it from random, or not able to break it.


[User] Please transcribe this text

[Assistant] So let's look first of all at a very silly example. Suppose we have a statistical test A that simply ignores its inputs and always outputs zero.


[User] Please transcribe this text

[Assistant] Okay, always output zero. What do you think is the advantage of the statistical test relative to a generator gene?


[User] Please transcribe this text

[Assistant] Similarly, when we give a truly random input, it still will never output one. And so the probability that it outputs one is zero. And so zero minus zero is zero, so its advantage is zero. So basically, a statistical test that ignores its input is not able to distinguish truly random input from a pseudo-random input, obviously.


[User] Please transcribe this text

[Assistant] Okay, so now let's look at a more interesting example. So suppose we have a generator G.


[User] Please transcribe this text

[Assistant] With probability two-thirds, the generator will output one as its first bit. Okay? So that's the property of the generator that we're looking at.


[User] Please transcribe this text

[Assistant] Now let's look at the following statistical test. The statistical test basically says, if the most significant bit of the string you gave me is 1, I'm gonna say 1, meaning I think it's random.


[User] Please transcribe this text

[Assistant] Okay, so now my question to you is what is the advantage of the statistical test on the generator G? Okay, so remember I just wrote down the definition here again and I'll let you think about this for a second.


[User] Please transcribe this text

[Assistant] So let me explain. Suppose we give the statistical test a pseudo-random input. By definition of G, we know that with probability two-thirds, the first bit in the input will start with a bit one.


[User] Please transcribe this text

[Assistant] The probability that the statistical test outputs 1 is exactly 2 thirds. Now let's look at the case of a random string.


[User] Please transcribe this text

[Assistant] And so in this case the statistical test will output one with probability one-half.


[User] Please transcribe this text

[Assistant] And so the overall advantage is 1-6, and 1-6 is actually a non-negligible number. That's actually a fairly large number, which basically means that this A was able to distinguish the output. We'll say that A breaks


[User] Please transcribe this text

[Assistant] So basically we say that as generator G is secure, if essentially no efficient statistical test can distinguish its output from random. More precisely what we'll say is that basically for all efficient statistical tests A, statistical tests


[User] Please transcribe this text

[Assistant] A, it so happens that if I look at the advantage of the statistical test A relative to G, this advantage basically is negligible.


[User] Please transcribe this text

[Assistant] Okay, so in other words, it's very close to zero, and as a result, this statistical test was not able to distinguish the output from random, and that has to be true for all statistical tests.


[User] Please transcribe this text

[Assistant] So this is a very, very pretty and elegant definition that says that a generator is secure


[User] Please transcribe this text

[Assistant] Not only if a particular battery of statistical tests says that the output looks random, but in fact all efficient statistical tests will say the output looks random. Okay?


[User] Please transcribe this text

[Assistant] One thing I'd like to point out is that the restriction to efficient statistical tests is actually necessary. If we ask


[User] Please transcribe this text

[Assistant] That all statistical tests, regardless of whether they're efficient or not, not be able to distinguish the output from random,


[User] Please transcribe this text

[Assistant] Then, in fact, that cannot be satisfied. So in other words, if we took out the requirements that the test be efficient,


[User] Please transcribe this text

[Assistant] Then this definition would be unsatisfiable and I'll leave this as a simple puzzle for you, uh, to think about. But I'll basically, the fact is that restricting this definition to only efficient statistical tests is actually necessary for this to be satisfiable.


[User] Please transcribe this text

[Assistant] So now that we have a definition, the next question is, can we actually construct a generator and then prove that in fact it is a secure PRG? In other words, prove that no efficient statistical test can distinguish its output from random.


[User] Please transcribe this text

[Assistant] And it turns out that the answer is we actually can't. In fact, it's not known if there are any provably secure PRGs. And I'll just say very briefly the reason is that if you could prove that is, that a particular generator is secure, that would actually imply that P is not equal to NP.


[User] Please transcribe this text

[Assistant] And I don't want to dwell on this because I don't want to assume you guys know what P and NP are. But I'll just tell you as a simple fact that in fact if P is equal to NP, then it's very easy to show that there are no secure


[User] Please transcribe this text

[Assistant] So if you could prove to me that a particular PRG is secure, that would imply that P is not equal to NP. Again, I will leave this to you as a simple puzzle to think about.


[User] Please transcribe this text

[Assistant] But even though we can't actually rigorously prove that a particular PRG is secure, we still have lots and lots and lots of heuristic candidates and we even saw some of those in the previous segments.


[User] Please transcribe this text

[Assistant] And so the first thing I want to show you is that in fact a secure PRG is necessarily unpredictable.


[User] Please transcribe this text

[Assistant] Okay, so we'd like to show that if a generator is secure then necessarily it means it's unpredictable. And so the way we're gonna do that is using the contrapositive.


[User] Please transcribe this text

[Assistant] Then necessarily it's insecure. In other words, necessarily I can distinguish it from random. And so let's see, this is actually a very simple fact, and so let's see how we would do that.


[User] Please transcribe this text

[Assistant] So suppose you give me a predictor. In other words, suppose you give me an efficient algorithm such that, in fact, if I give this algorithm the output of the generator, but I give it only the first i bits of the outputs,


[User] Please transcribe this text

[Assistant] It's able to predict the next bit of the output. In other words, given the first i bit, it's able to predict the i plus first bit, and it does that with a certain probability. So let's say if we choose a random k from the key space.


[User] Please transcribe this text

[Assistant] Then, clearly, a dumb predictor would be able to predict the next bit with probability one half, simply just guess a bit. You'll be right with probability one half. However, this algorithm A is able to predict the next bit with probability half plus epsilon. So it's bounded away from a half, and in fact we require that this be true for some non-negligible epsilon.


[User] Please transcribe this text

[Assistant] So for example, epsilon equals one over a thousand would already be a dangerous predictor because it can predict the next bits given a prefix with non-negligible advantage.


[User] Please transcribe this text

[Assistant] Okay, so suppose we have such an algorithm. Let's see that we can use this algorithm to break our generator. In other words, to show that the generator is distinguishable from random and therefore is insecure. So what we'll do is we'll define a statistical


[User] Please transcribe this text

[Assistant] So let's define a statistical test b as follows. Basically, b given a string x


[User] Please transcribe this text

[Assistant] What it will do is it will simply run algorithm A on the first i bits of the string x that it was given. And statistical test B is simply gonna ask, was A successful in predicting the i plus first bit of the string? If it was successful, then it's gonna output one. And if it wasn't successful, then it's gonna output zero. Okay? This is our statistical test. Let's put it in a box so we can take it wherever we like.


[User] Please transcribe this text

[Assistant] And we can run the statistical test on any n-bit string that's given to us as input. So now let's look at what happens. Suppose we give the statistical test a truly random string. So a truly random string R. And we ask what is the probability that the statistical test outputs one?


[User] Please transcribe this text

[Assistant] And so whatever A outputs, the probability that it's gonna be equal to some random bit, Xi plus one, random independent bit, Xi plus one, that probability is exactly one half. In other words, algorithm A simply has no information


[User] Please transcribe this text

[Assistant] On the other hand, let's look at what happens when we give our statistical tests a pseudo-random sequence. Okay, so now we're gonna run the statistical test on the output of the generator. And we ask, how likely is it to output one? Well, by definition of A,


[User] Please transcribe this text

[Assistant] Well, output 1 with probability greater than half plus epsilon.


[User] Please transcribe this text

[Assistant] And basically what this means is if we look at the advantage of our statistical tests over the generator G, it's basically the difference between this quantity and that quantity.


[User] Please transcribe this text

[Assistant] And as we said, the contrapositive of that is that if, uh, G is a secure generator, then there are no good statistical tests, and as a result, there are no predictors.


[User] Please transcribe this text

[Assistant] Okay? Which means that the generator is, as we said, unpredictable. Okay, so so far what we've seen


[User] Please transcribe this text

[Assistant] Now there's a very elegant and remarkable theorem due to Yao back in 1982 that shows that in fact the converse is also true.


[User] Please transcribe this text

[Assistant] In other words, if I give you a generator that's unpredictable, so you cannot predict the i plus first bits from the first i bits, and that's true for all i, that generator in fact is secure. Okay, so let me state the theorem a little bit more precisely. So here we have our generator that outputs n-bit outputs.


[User] Please transcribe this text

[Assistant] The theorem says the following, basically for all bit positions, it's impossible to predict i plus first bit of the output given the first i bits. And that's true for all i. In other words, again, the generator is unpredictable for all bit positions.


[User] Please transcribe this text

[Assistant] Then that in fact implies that the generator is a secure PRG. I want to paraphrase this in English, and so the way to kind of interpret this result is to say that if basically these next bit predictors, these predictors that try to predict the i plus first bit given the first i bits, if they're not able to distinguish g from random, then in fact no statistical test can distinguish g from random.


[User] Please transcribe this text

[Assistant] So kind of next bit predictors are in some sense universal predictors when it comes to distinguishing things from random. This theorem, by the way, it's not too difficult to prove, but there's a very elegant idea behind this proof. I'm not gonna do the proof here, but I encourage you to think about this as a puzzle and try to kind of prove this theorem yourself.


[User] Please transcribe this text

[Assistant] Suppose I give you a generator and I tell you that given the last bit of the outputs, it's easy to predict the first bit of the outputs. Okay, so given the last n bits, you can compute the first n bits. That's kind of the opposite of predictability, right? Predictability means given the first bits, you can produce the next bits.


[User] Please transcribe this text

[Assistant] Here, given the last bits, you can produce the first ones. And my question to you,


[User] Please transcribe this text

[Assistant] Does that mean that the generator is predictable? Can you somehow from this fact still build a predictor for this generator?


[User] Please transcribe this text

[Assistant] Well, actually we're not gonna build it, I'm just gonna show you that the generator exists. Well, because the last n over two bits apply the first n over two bits, that necessarily means that the generator, here let me write it this way, that necessarily means that G is not secure.


[User] Please transcribe this text

[Assistant] But if G is not secure, by Yao's theorem, that means that G is predictable. So in other words, there exists some I for which, given the first I bits of the output, you can build the I plus first bit of the output.


[User] Please transcribe this text

[Assistant] Okay, and so even though I can't quite point to you to a predictor, we know that a predictor must exist.


[User] Please transcribe this text

[Assistant] So that's a one cute simple application of, uh, Yaw's theorem.


[User] Please transcribe this text

[Assistant] Now before we end this segment, I want to kind of generalize a little bit what we did and introduce a little bit of important notation that's going to be useful actually throughout.


[User] Please transcribe this text

[Assistant] And so we'll say that the distributions are computationally indistinguishable and we'll denote this by p1 is quigly p.


[User] Please transcribe this text

[Assistant] Uh, P2, this means that in polynomial time, P1 cannot be distinguished from P2, and we'll say that they're indistinguishable basically just as before, if basically for all efficient


[User] Please transcribe this text

[Assistant] Statistical tests. Statistical tests.


[User] Please transcribe this text

[Assistant] Okay, so if this is the case, then we say that, well, A couldn't distinguish its advantage in distinguishing two distributions as negligible.


[User] Please transcribe this text

[Assistant] And if that's true for all efficient statistical tests, then we say that the two distributions are basically complicationally indistinguishable because an efficient algorithm cannot distinguish them.


[User] Please transcribe this text

[Assistant] And just to show you how useful this notation is, basically using this notation, the definition of security for PRG just says that if I give you a pseudo-random distribution, in other words I choose K at random and then output G of K,


[User] Please transcribe this text

[Assistant] That distribution is computationally indistinguishable from the uniform distribution. So you can see this very simple notation captures the whole definition of pseudorandom generators.


[User] Please transcribe this text

[Assistant] Okay, so we're gonna make use of this notation in the next segment when we define what does it mean for a cipher to be secure.


[User] Please transcribe this text

[Assistant] This is the first time in eight years I've seen your face. The face of a brother and a murderer. And I wear the same face as well, don't I, Lelouch?


[User] Please transcribe this text

[Assistant] The Damocles will become a symbol of their hatred. All their hatred will be focused here. That way people can move toward the future.


[User] Please transcribe this text

[Assistant] If something's got your back on a worry nut, just ask the story bots. Just ask the story bots.


[User] Please transcribe this text

[Assistant] There is the joy of flight, a dream of all mankind.


[User] Please transcribe this text

[Assistant] A rush of a lifestyle of being so close to disaster, yet taunting it, of being free.


[User] Please transcribe this text

[Assistant] For the great ones, those whose names resonate above the cacophony of the engines and the adoring crowds, it comes from embracing it all.


[User] Please transcribe this text

[Assistant] Being truly, entirely, completely in the presence.


[User] Please transcribe this text

[Assistant] This is Unchained, the untold story of Freestyle Motocross.


[User] Please transcribe this text

[Assistant] Competitive motorcycle riding was born in post-World War I Europe, near Surrey, England, and it soon took off around the continent. With motorcycles racing across the country, it was christened motocross.


[User] Please transcribe this text

[Assistant] By the mid-60s, motocross had migrated from Europe and quickly took hold in rural America.


[User] Please transcribe this text

[Assistant] When motorcycle racing was brought into stadiums in the early 1970s, a multi-million dollar industry began to emerge, and it became known as Supercross.


[User] Please transcribe this text

[Assistant] Japanese motorcycle manufacturers Yamaha, Suzuki, Kawasaki and Honda dominated the American motorcycle market and tightly controlled the sports public image as they sought to gain mainstream acceptance.


[User] Please transcribe this text

[Assistant] As the corporate controlled world of Supercross groomed and shaped its image, they couldn't control everything.


[User] Please transcribe this text

[Assistant] But when snowboard filmmakers John Freeman and Dana Nicholson discovered this secret free-riding subculture, they began filming in the deserts of Southern California.


[User] Please transcribe this text

[Assistant] The unproven controversial sport found itself fueled by energy drinks like Monster Energy and its president Mark Hall.


[User] Please transcribe this text

[Assistant] Seth Inslow's unintentional but incendiary part in the film would drive an explosive and permanent wedge between traditional factory supercross racing and a new breed of rebellious free-spirited motorcycle riders.


[User] Please transcribe this text

[Assistant] It's full potential as a sport and lifestyle had yet to be realized.


[User] Please transcribe this text

[Assistant] Clean cut Travis Pastrana, son of a marine, was picked to be the next face of factory supercross racing.


[User] Please transcribe this text

[Assistant] His impressive race record, incredible natural talent, and media savvy had caught the attention of race team managers at an early age.


[User] Please transcribe this text

[Assistant] The most elite supercross riders in the country were still moonlighting for the cameras, despite a growing fear from traditionalists.


[User] Please transcribe this text

[Assistant] Brian Deegan had become infamous with his only supercross victory when he ghost rode his bike across the finish line. A smack in the face to this dodgy supercross world.


[User] Please transcribe this text

[Assistant] But adding a competition element to this already risky endeavor.


[User] Please transcribe this text

[Assistant] While the freestyle competition had seemingly reached its limit in technical tricks, the man who started it all took a different path. Seth Inslow, never a finesse rider, was focused on breaking the world distance record of 181 feet.


[User] Please transcribe this text

[Assistant] Independent film producer Paul Taublieb and his partner Austin Hurst, with the help of TV producer Alan Gibby of DinoCom, were also inspired by the Krusty Demons franchise.


[User] Please transcribe this text

[Assistant] But with prize money and sponsorships on the line, tricks were getting bigger and more technical. And so were the stakes and the injuries.


[User] Please transcribe this text

[Assistant] Deegan put himself on the podium, but Travis earned gold with the first of two runs. However, he would not be remembered for winning gold. He would make his mark in an entirely different way.


[User] Please transcribe this text

[Assistant] Despite the media splash at the X Games, the reality was freestyle motocross still had no respect as a legitimate sport.


[User] Please transcribe this text

[Assistant] This included the king of supercross, Jeremy McGrath, who helped inspire the freestyle movement with his trademark knack-knack.


[User] Please transcribe this text

[Assistant] Kerry's failure to ride out of the trick left many wondering if it was indeed even physically possible. And for the next year, no one would even attempt it.


[User] Please transcribe this text

[Assistant] The following year, Kerry broke his collarbone leading up to the X Games in Philadelphia, and he originally planned to attend only as a spectator.


[User] Please transcribe this text

[Assistant] But some questioned whether its success as a legitimate sport would be overshadowed by the heavy toll on the riders.


[User] Please transcribe this text

[Assistant] The revolution was complete, while racing would continue.


[User] Please transcribe this text

[Assistant] Freestyle motocross represented freedom and individualism and was rewarded by its own stage, lifestyle and industry, becoming part of a culture now dubbed action sports and embrace surfing, skateboarding and BMX. But what had been unleashed had really only just begun.


[User] Please transcribe this text

[Assistant] Mike Metzger had been dubbed the godfather of freestyle for progressing a variety of imaginative and inventive tricks.


[User] Please transcribe this text

[Assistant] But like most freestylers of the era, he came from an unstoried racing pedigree.


[User] Please transcribe this text

[Assistant] The evening of Metzger's back-to-back flips, Kerry Hart would again battle in the big air competition.


[User] Please transcribe this text

[Assistant] Although Metzger had pulled the trick successfully earlier, for Carrie, it was now personal.


[User] Please transcribe this text

[Assistant] For Hart, the trick was behind him and Metzger found himself again at the forefront of the sport. But for every other rider, it was flip or your career was over.


[User] Please transcribe this text

[Assistant] Even Brian Deegan, a top competitor, struggled with the backflip.


[User] Please transcribe this text

[Assistant] As Kerry Hart proved, going inverted means more severe consequences.


[User] Please transcribe this text

[Assistant] Athletes, many well established, like Clifford the Flying Hawaiian, Adeptante. Tommy Tomcat-Klowers.


[User] Please transcribe this text

[Assistant] And the smooth Drake McElroy began disappearing from the scene.


[User] Please transcribe this text

[Assistant] With a loss of so much talent, the door was left open for newcomers, groomed on riding ramps and practicing tricks.


[User] Please transcribe this text

[Assistant] Nate Adams did master the backflip and started dominating competitions. Not to be outdone, Brian Deegan mastered the flip as well.


[User] Please transcribe this text

[Assistant] But the godfather of FMX, Mike Metzger, had it so dialed that he wanted to push it further.


[User] Please transcribe this text

[Assistant] Packed with fans, the rumors had filtered through the crowd, creating an electric environment. The sport was again about to go to another level, with a new terrifying trick.


[User] Please transcribe this text

[Assistant] As insane as the backflip was, the 360 brought a new tortured dimension to physics.


[User] Please transcribe this text

[Assistant] Whipping a 260 pound motorcycle sideways off a ramp.


[User] Please transcribe this text

[Assistant] Flat spinning it off its natural axis, and then finding forward momentum to ride away when it wants to throw you sideways.


[User] Please transcribe this text

[Assistant] Not long after, X Games would remove freestyle best trick from winner competition.


[User] Please transcribe this text

[Assistant] Still, on dirt, a new breed of athletes continued to push progression, with Nate Adams leading the way.


[User] Please transcribe this text

[Assistant] At the forefront of this new progression, Travis Pastrana contemplated a trick that most riders believed was truly impossible.


[User] Please transcribe this text

[Assistant] For Brian Deegan, it was time to put his personal competitive goals aside and take a rising star under his wing.


[User] Please transcribe this text

[Assistant] It took a long time for riders to throw a leg over their bikes after Jeremy Lusk passed. But the sport's heart is progression.


[User] Please transcribe this text

[Assistant] An internal engine of human desire to test oneself and explore the unknown. And right again they did.


[User] Please transcribe this text

[Assistant] Ozzy Jackson Jaco Strong, who as a kid had been inspired by the Krusty movies and the theatrical Krusty tour that toured Down Under.


[User] Please transcribe this text

[Assistant] Fellow Aussie Robbie Madison became a force in the sport by not only pulling cutting edge tricks, but also setting distance records. Freestyle expanded globally.


[User] Please transcribe this text

[Assistant] Inspiring writers like Japan's Taka Higashino who added perilous technical difficulty to going upside down with his backflip rock solid.


[User] Please transcribe this text

[Assistant] He also reached his own lifelong goal, going over 300 feet, a distance evil himself thought was impossible.


[User] Please transcribe this text

[Assistant] When Seth Inslow is not working as a contractor, he does spoken word poetry tours in Australia and meets lots of kids named Seth.


[User] Please transcribe this text

[Assistant] Brian Deegan continues to win X Games medals in rally cars and off-road trucks and is raising three children.


[User] Please transcribe this text

[Assistant] And owns an AMA supercross racing team and is raising his daughter with his wife, Pink.


[User] Please transcribe this text

[Assistant] Travis Pastrana now tours the globe with his Nitro Circus action sports show and is raising two children.


[User] Please transcribe this text

[Assistant] And in 2015, he would find himself as the catalyst for the next great leap forward. This time as a mentor, helping Aussie Josh Sheehan prove once again


[User] Please transcribe this text

[Assistant] When you didn't win, you would get an email from Japan and would say, please explain Jeff Emig condition. Like, why isn't he winning?


[User] Please transcribe this text

[Assistant] I think there was a lot of concern from the manufacturer's standpoint that injuries in freestyle motocross could affect sales of motocross bikes.


[User] Please transcribe this text

[Assistant] I'm the operating system, but y'all can call me OS. I got all the instructions to tell this computer to do what I tell it to do. I'll take that, nephew.


[User] Please transcribe this text

[Assistant] Aw, come on man, not this again. This fool wants the same cat file I sent him that earlier. Man, this machine can send a man to the moon and all y'all wanna ask about is cats? Can we at least ask about one dog?


[User] Please transcribe this text

[Assistant] Yeaah. The CPU's part of the next step. Process.


[User] Please transcribe this text

[Assistant] Man, y'all really ain't getting this, huh? Allow me to enlighten you. This...


[User] Please transcribe this text

[Assistant] Binary is not just for letters or numbers. You can use binary to make pictures, sounds, apps, and games.


[User] Please transcribe this text

[Assistant] It's processing the code. There's a million ones and zeros in that cat fact. The CPU is reading it all and doing thousands of calculations to make sense of it.


[User] Please transcribe this text

[Assistant] Given the human exactly what they asked for.


[User] Please transcribe this text

[Assistant] Mm-hmm. I love that sign. Another one done, baby.


[User] Please transcribe this text

[Assistant] And then what? You got everything figured out, right? So tell me what comes next.


[User] Please transcribe this text

[Assistant] Junior battle is like a, a solar eclipse. We rarely see him, but when we do, it's always special.


[User] Please transcribe this text

[Assistant] Nothing to do with the doctor's cold. Ah yes, we infected the doctor. Tell me, who will cure the others now?


[User] Please transcribe this text

[Assistant] We're waiting to infect other humans. How will you do that? It's easy. Maybe we'll land on their food or on their hands. Or maybe they will breathe us in like air. And when they do, the sickness will spread. More and more people will get sick.


[User] Please transcribe this text

[Assistant] Your despicableness. We have taken the left bronchial passage.


[User] Please transcribe this text

[Assistant] Very good, Admiral. The infection is going as planned. The body shall be ours by nightfall.


[User] Please transcribe this text

[Assistant] Did you know that an Apatosaurus needed to eat 880 pounds of plants every day?


[User] Please transcribe this text

[Assistant] I had to drop four stories out of it, you know, with no forward momentum. I mean, just, just a full straight drop. And, you know, landed hard, my hand blew off and, and slid out. But, uh, you know, and that's always been a huge conversation piece, you know. Was it legit? Wasn't it legit? He proved it's possible.


[User] Please transcribe this text

[Assistant] Between the outside pressure and the pressure I put on myself, knowing that I wasn't 100%, I gave in.


[User] Please transcribe this text

[Assistant] I broke, uh, sixteen bones in my foot, four of my ribs up the right side, tailbone, wrist. I mean, it, it thrashed me.


[User] Please transcribe this text

[Assistant] When I roll into Philly and it's the exact same roll in, exact same jump set up, I was back mentally, physically, emotionally where I was a year prior. And that was a huge head fuck for me.


[User] Please transcribe this text

[Assistant] I don't think there's any other sport on the planet that pushes progression and risk as hard as...


[User] Please transcribe this text

[Assistant] We do. What other sport in the Olympics has had a new move invented since when?


[User] Please transcribe this text

[Assistant] Watching Travis Pastrana do a double backflip at X Games was...


[User] Please transcribe this text

[Assistant] Oh, it's a gazelle. Do, re, mi. This gazelle likes to sing.


[User] Please transcribe this text

[Assistant] Oh, it's a gazelle. Do, re, mi. This gazelle likes to sing.


[User] Please transcribe this text

[Assistant] What do you do every day? What's a typical day like for you?


[User] Please transcribe this text

[Assistant] In this class, you'll learn everything you need to talk about your daily routine, including work, free time, meals and sleep habits.


[User] Please transcribe this text

[Assistant] Yeah, it has its pluses, but it's not all fun and games. Obviously my work is more flexible, but I still have to be disciplined and make sure I stick to a schedule.


[User] Please transcribe this text

[Assistant] I like to get an early start, so I get up at 8 and I work from 8.30 to around midday.


[User] Please transcribe this text

[Assistant] Then I take a long lunch break, maybe go to the gym or something like that.


[User] Please transcribe this text

[Assistant] Then I do another three or four hours in the evening, so I finish at seven or eight.


[User] Please transcribe this text

[Assistant] Yeah, but it suits me. I get sleepy in the afternoon, so it's not the best time to work.


[User] Please transcribe this text

[Assistant] I have to say, working at home has some disadvantages, but I don't miss commuting every day.


[User] Please transcribe this text

[Assistant] Here are some questions for you based on the dialogue. What's your working day like? What time do you start and finish? Do you often work long hours?


[User] Please transcribe this text

[Assistant] If you have a more relaxed working day, you might say, I take a long break in the afternoon.


[User] Please transcribe this text

[Assistant] The phrases at the earliest and at the latest are useful if you want to talk about extremes.


[User] Please transcribe this text

[Assistant] Otherwise, use adverbs like often or usually.


[User] Please transcribe this text

[Assistant] I know the feeling. It's hard to motivate yourself when you've been at work all day.


[User] Please transcribe this text

[Assistant] I'm the opposite. I'm stuck at home all day, so when I'm free, I'm desperate to get out of the house, do some exercise, talk to people. I try to arrange something most evening.


[User] Please transcribe this text

[Assistant] Lots of stuff. I started going to a boxing class twice a week. I also play basketball with a group of friends every Thursday. Then I'll generally go out with friends for a coffee or a drink on one or two evenings too.


[User] Please transcribe this text

[Assistant] Here's a question. What do you do in the evenings after work?


[User] Please transcribe this text

[Assistant] Are you active? Do you like going out and doing lots of different things? Or do you prefer to stay at home and relax?


[User] Please transcribe this text

[Assistant] If you're more active, you could say something like I like to get out of the house when I can.


[User] Please transcribe this text

[Assistant] For example, I go out with friends once a week.


[User] Please transcribe this text

[Assistant] I generally go running around the park after I get home.


[User] Please transcribe this text

[Assistant] If you don't work or if you have a different schedule, what do you do with your free time during the day?


[User] Please transcribe this text

[Assistant] As usual, try to make two to three sentences about yourself. Use the language from this section to help you. Pause the video and do it now.


[User] Please transcribe this text

[Assistant] Yeah, my meal habits are all over the place though.


[User] Please transcribe this text

[Assistant] Sometimes I skip meals or I eat at weird times. I might eat dinner at 7.30 or I might not eat until 11. It depends what I'm doing and how hungry I am.


[User] Please transcribe this text

[Assistant] That's a good system. It's hard to motivate yourself to cook when you live alone. I try though, because I don't want to waste money on takeaways and eating out, so I'll cook a big batch of something, then freeze it and eat it for several days.


[User] Please transcribe this text

[Assistant] Think about how you could answer these, but first, let's look at some more phrases you heard in the dialogue. Do you know what they mean? My meal habits are all over the place.


[User] Please transcribe this text

[Assistant] What about you? Do you sometimes skip meals?


[User] Please transcribe this text

[Assistant] Do you buy lunch or cook at home and take food to work? Do you ever get takeaways in the evening?


[User] Please transcribe this text

[Assistant] Make at least three sentences and talk about your cooking and eating habits. Make more sentences if you can.


[User] Please transcribe this text

[Assistant] Practice by saying your sentences out loud several times until you can produce them fluently.


[User] Please transcribe this text

[Assistant] Remember that all the language you need is in the dialogue. Go back and review the dialogue if you need some more ideas. Pause the video and make your answer now.


[User] Please transcribe this text

[Assistant] How was that? Could you make a fluent answer? Take more time to practice if you need. Let's look at one more thing.


[User] Please transcribe this text

[Assistant] Just imagine you're working freelance, like me, and you can set your own timetable. Would you still start early?


[User] Please transcribe this text

[Assistant] You see, I'm not exactly a morning person either, but I like to get some stuff finished early in the day. It helps me to feel more productive.


[User] Please transcribe this text

[Assistant] Then sometimes I take a nap in the afternoon because I often go to bed quite late.


[User] Please transcribe this text

[Assistant] Yes and no. I don't have to get up so early, so I can still get a good night's sleep.


[User] Please transcribe this text

[Assistant] Look at some useful language from the dialogue which you could use. Think about what these sentences mean. I really struggle to get moving in the morning. I stay up late on weekends.


[User] Please transcribe this text

[Assistant] If you struggle to get moving in the morning, it means it's difficult to get out of bed because you have no energy.


[User] Please transcribe this text

[Assistant] If you're a night owl, you'll probably struggle to get moving in the morning.


[User] Please transcribe this text

[Assistant] Taking a nap means that you have a short sleep during the daytime.


[User] Please transcribe this text

[Assistant] Now you know how to talk about different parts of your daily routine in English. Thanks for watching!


[User] Please transcribe this text

[Assistant] Does the lockout include practices and games? And do you have a set period of time?


[User] Please transcribe this text

[Assistant] In this instance, we will be accepting the vote of Principal Garrison as well.


[User] Please transcribe this text

[Assistant] Now I put to those members the vote on whether or not to end the lockout.


[User] Please transcribe this text

[Assistant] All those in favor of ending the lockout will raise their right hand when called upon. I will vote first by not raising my hand.


[User] Please transcribe this text

[Assistant] Just got a little nervous. You're nervous? An 11 year old is cutting my hair! Please, aren't you just like me? Well I'm supposed to, aren't I? Go on, just do it.