Institutes of Technology and Indian Institute of Science. As you are aware, these lectures offer students in the IITs and other engineering colleges and the role of humanities and social sciences is quite significant in the curriculum of engineering students. I am Krishna Barua, I teach literature at IIT Guwahati and it has been a wonderful experience sensitizing the students to literature and to social sciences. As you are aware, these lectures are titled literature and language. We are in the module 3 of English language and literature, which is titled History of English Literature and we are at lecture 4, the covering modern literature well. So, let us have a recap of what we had done in the previous lectures. We had started with the necessity of why it is necessary, good to know about the ages, the different ages of history literature and because this gives us an overview of what had happened to the creative output of those times. The first lecture was on the age of saucer and the dominant characteristics as we have seen was more on the love of freedom, a reverence for womanhood, responsiveness to nature and a devotion to glory and the main icon who dominated this age was naturally Geoffrey saucer. And when we do this recap of the lectures that we had done before, it will be good for you to understand how the characteristics of one age goes to the other, just now we had done that the Anglo-Saxon period there was this reverence for nature and you will find again in the age of romanticism that the need for connections with nature, with spirituality, with freedom of the mind again becomes recurrent. When we did lecture 2, which was the age of Shakespeare, we covered the whole age of Shakespeare from the poetic geniuses like Spencer and Sidney to Marlowe and the university of Louis and we found out what was the meaning of Renata, humanism and the emphasis on man as man and the dignity of modern English as a literary medium. And in lecture 3 when we came to module 3 and lecture 3 of Milton and his times, we had seen how Shakespeare and Milton were two figures that towered conspicuously and was representative of the age that produced them and the force of impulse on the one hand which was the age of Shakespeare and the force of fixed purpose which was the age of Milton. In lecture 4 the Augustan age which was very interesting in the sense that it was more the triumph of English prose for the first time, we chronicle the time of the essay, the newspapers and the way that the novel took into its came out. The history of the book in order to bring about reforms how this brought about ideas, facts, arguments, information, this will be very interesting now while we will be doing lecture 7 of this module, how this age of prose again continued to into modern times and the newspaper and the magazine became the sift instrument of a nation's progress. And Augustan this transition between Augustan period and the Romantic period was a drastic shift in literary ideas. As we had gone to lecture 6 which was the Romantic age, we found that there was a drastic shift and the middle of the 18th century was a period of transition and experiment not only in poetic styles and subjects. So, while we do each age we find that this transition do takes place and at the same time we find that some of the main characteristics of what really marked the age is carried over to the other, it is not that the innovation comes out all of a sudden. The stability which English thought in society regained at the end of the 17th century could not in a nature of things belong maintained and we see that it gave way to more complex and more obviously contradictory attitude where a view of the value of life in urban society was emphasized. And when we came to lecture 5 of the Romantics, it was a literary movement and profound shift in sensibility and the stylistic keynote of Romanticism as we had done was intensity, impassioned involvement in whatever we were doing and the watch word was imagination. And Romanticism therefore, we have seen was shifts in view of the nature and function of poetry in relation to the poem to the poet, the role of the poet, what does he write, literary theory also came into, poetics came into being and poetry became the major functioned expression of the poet's emotion. And the main aspect of the Romantic age was the spiritualizing of nature and the humanizing of social life. When we came to the Victorians in lecture 6, the reign of Queen Victoria, we found the democracy, the long struggle of Anglo-Saxons which we had done in lecture 1. Our personal liberty is settled, we have the House of Commons, we have this participation of people in the governance, enormous political, social and cultural innovation and change, great advances in science, the scientific treaties and technology and the arts. Now we come to module lecture 7 of module 3, History of English Literature, the Modern Period which is very contemporary, which I hope you will enjoy and you can relate to, because how it has traveled the journey of this literary creations, how it has traveled through all these ages and you may have seen the dominating aspects which were there and which were also some qualities which were dormant and the key notions when we look into it, this period says the end of the long reign of Queen Victoria which was about 1901 and of the stability which the country had so long enjoyed. After the beginning of the 20th century through roughly 1965, so the modern period we can say it carries almost after the beginning of the 20th century, almost at the end of the 19th century also some writers were writing at that period and till roughly 1965 and the Edwardian and Georgian periods are named just after Queen Victoria, these are called also the Edwardian and Georgian periods, we will just very quickly go through them and the Monarchs of King Edward and King George from 1910 to 1936 and also another political event the first world war 1914 to 1918, which was a series of cultural shocks that the people encountered and the British empire by this time was coming apart. So, there was a lot of political associations in the literary creativity of the time and this birth of modern literature when we look into it, who are the key players in this field? We have Hardy, we have James, we have Conrad Wells, Bernard Shaw, St. G. H. Bridges to name just a few. So, why do we call it the modern period or what do we understand by modernism as a key concept? So, let us go into the literary characteristics of the modern period and particularly it has been said like the Augustine period it was an age of prose and the age of the newspaper, the magazine and the modern novel. So, you see that it is almost as if again the Augustine period has been reinstated in the modern period. The term modernism let us just look into the understanding of the definition of modernism as such which is a very complex term refers to the radical shift in aesthetic and cultural sensibilities evident in the art and literature of the post world war one period. There is a veritable exchange between the visual culture, visual arts and what was happening in the cultural field and the literary output. The immense panorama of fertility and anarchy which is contemporary history this is what T. S. Eliot had said. Modernism does marks a distinctive break with Victorian bourgeois morality and of Decorum rejected 19th century optimism. They presented a profoundly pessimistic picture of culture in this array. So, this was the sort of alienation or angst or in eye that you felt against the Victorian complete sense. This despair often results in an apparent apathy and moral relativism. Well, so definition of modernism as I have just now told you that it has close connection with the parallel movements which was going on in the visual arts, especially in painting. It comes from the aesthetic movement broadly labeled modernism with 20th century western ideas about art. How art has to be represented? Is it about form? Is it about imitation? Is it about psychological consciousness which represents? Is it about the mind? So, modernism is the movement in taken broadly. We have to understand in visual arts, music, literature, drama even in medicine which rejected the old Victorian standards of how art should be made, consumed and what it should be. Mostly in psychology we will find that how one aspect of psychoanalysis ultimately led to the stream of consciousness novels also to the different novels of Dostoyevsky and the rest. In the period of high modernism which period was that? From around 1910 to 1930 the major figures of modernist literature helped radically to redefine what poetry and fiction should be and do. So, what is the role of poetry? What is the role of fiction? So, you find a lot of poetics which is also involved with the creative act. Figures like Virginia Woolf, James Joyce, T. S. Eliot, Ezra Pound, Stevens, Proust, Malam, Kafka and Wilke, German poem. Poets are considered the founders of 20th century modernism. Modernist argued for multiple ways. So, let us look into the actual you know horizon of what is modernism is for multiple ways of looking at the world. It is not just one subjective viewpoint and it is the different ways that you look at the world and blurred the Victorian dichotomies by presenting anti-heroes, uncategorizable persons and anti-art movements like that. So, you find that this was a huge panorama of multiple perspectives which they explored. So, it was not something which was connected with a pre-destined or preconceived notion of what a novel should be, of what a character should be, does it follow the lines which traditionally one says one should follow and about morality and it was an age of cultural relativism. Modernist writers tended to see themselves as an avant-garde disengaged from bourgeois values and disturbed their readers by adopting very complex and difficult new forms and styles. So, the question was not only in the thematic content in all the subjects that they wrote, it was also in the different techniques that they employed whether the role the styles and the new forms and styles were completely awe inspiring and it was shocked the reader into acceptance that this could be something new and this something new itself is some is one of the tenets of modernism. After the first world war as we have just mentioned the idea of English literature changed radically in the beginning of a vibrant ethnic diversity. So, there were so many voices which were coming out from different parts of the world included voices as geographically diverse as Canada, New Zealand, India, the Caribbean and Africa. So, this sense of alienation or that is the distance between the serious artists and the general public that marked early 20th century grew out of this sense of art for art sake. So, you are doing it for the sake of art not art for may be life sakes which of course, later we find in some of the realist novels, but at the same time we find this experimentation with form and sudden and unexpected breaks with traditional ways. So, there are ambiguities here contradictions here we will find T. S. Eliot in his essay tradition an individual talent will say that to be modern is also to be traditional in the sense that you have to know about your past. It is not that you go back to the past, but the past has to be somehow or the other modified by the present and in that sense you have a almost different role a very vibrant and dynamic role to play in societies. So, when we go into the political background we know that in 1930s were known as the red decade about the political era the more generic and mass produced popular literature came into being and the more experiment and challenging and avant-garde. So, there was hardly any difference between the high and the low popular culture popular literature came into being indeed a central preoccupation of modernism is with inner self and consciousness. And this was experiments in literary form therefore, we found in poetry in the novel and in the drama we had just said that it was not only in the matter, but also in the manner of writing whether in poetry or drama or in the novel that you found that there was experimentation going on which was never so much done as it was done now. Studies meanwhile can involve many interrelated activities critical and creative textual and intertextual. So, the borderlines between genres also where it became very fluid it was not something which was dynamic textual and intertextual engaging individual and groups. Typical literary products of the period the spread of education not only was there a larger market than ever before for the classics and for all types of fiction, but there arose an entirely new demand for works in educational fields science history and travel. So, the demand of the public was for all this type of new subjects of interest. The literature became a vehicle for the sociological studies, social propaganda, discussion play and the novel of social purpose well. So, this when let us examine now how this sense of dissolution and instability was reproduced or how it was represented in literature. As WBH said the centre cannot hold as if it was decentralized everything had to be decentralized fragmented and it was as if many narratives came out. So, the development of psychoanalysis and of comparative mythology just now we said that going back to tradition did not mean that you are less modern, but you have to be abreast with understanding the states of the mind. So, the field of psychology also offered immeasurable avenues for exploration then we had comparative mythology of different lens of different people which also brought in the exotic and the strangeness to the idea of being modern. So, experimentation with genre and form and individualism at the same time you are unique because you have done it in your own way. There was various belief systems were explored through myth through parables to oral literature and Ezra Pound one of the leading poets provided British modernism with its paradigmatic motto make it new. So, this is making it new itself which every writer every creative poet or a dramatist where some was some his contribution was something new. New theories of relative activity and quantum mechanics in science also helped in how to transfer this in the understanding of existence. Indeed therefore, if we look into what is modernism and post-modernism also which comes later of course, after the time of modernism may be from 1970 onwards indeed a central preoccupation of modernism is with the inner self and consciousness. Just now we had referred to psychoanalysis. So, the mind of man with all its mysteries with all its fluctuations with all its lateral thinking was the subject of discourse not only the subject of discourse, but also the technique of how the mind operated was being transferred into the creative process. Experiments in literary form therefore, we found emphasis on fragmented forms, discontinuous narratives and random seeming collages of different materials, minimalist designs all this formed in a different type of representation. Emphasis on impressionism we know that parallel movement in the arts was going on as we said in the beginning of the lecture that modernism actually was a concept which had come from the visual arts. And therefore, the impressionist the post impressionist and subjectivity in writing were being going side by side and emphasis on how we saw rather than on perception itself takes place rather than on what is perceived what is being perceived, but how you see it. So, there are the layers of consciousness which are being explored and how a person sees an object. So, there is a blurring of distinction between genres. So, let us look into the literary history now, look the output of poetry as we had said the Georgian period and decadence and war poetry we will just touch on them. When adopting Peter who adopting Peter as their prophet in art for art sake as the slogan with a number of other poets form the rhymers club. So, we were doing the aesthetic movement and we found that Peter was one of the initiators one who had started this and a more vital and positive out took appeared in the work of the maturing its and of bridges Robert Bridges while Kipling was already introducing a new and receive bigger into English poetry. At this time also just after the first world war we find that Wilfred Owen dominates the scene the war poets and he is regarded by historians as the leading poet of the first world war known for his war poetry. Owen he specially brought about his para rhyme and he was the one who was influenced by Tagore who was writing his Gitanjali and when he went to war he had in his pocket a copy of Gitanjali. We have during the last part of the 19th century Geryl Manly Hopkins who was one who had brought out great experimentation in form specially not only in content and he brought a fresh way to look at rhythm and word uses and he more or less invented his own poetic rhythms the sprung rhythms and his own vocabulary and he coined his own word for things. Hopkins had no formal training in poetry and this model the self taught artist Hermit who has no desire for public adulation would become synonymous with the poet in the modern age. So, this is the poet who is one who is a wanderer who is looking into the sense of life who is looking into a language which represents the actual experience of what one has to see even though alienation was nearly universal experience of modern poets the relationship that poets had with the world was very very real. This is what I am telling you that this question of searching for the essence searching for the truth was a very modern concept not only in poetry, but also in drama as well as in prose. So, therefore, when we look into the poetic stylistics or the technique of writing a poem we found that there was apart from what we had just done Geryl Manly Hopkins or Wilfred Owen whose the conditions of the they brought about their own representation we had a group who had brought in a revolution in poetic taste and practice. So, the rejection of the view of poetry represented by Palgrave's golden treasury in favor of one who saw poetry as at the same time more symbolic and more cerebral more intellectual. So, it was not the traditional poems which Palgrave had brought in in the collection of his poem this revolution was an Anglo-American achievement. So, it came from across the the the seas T. S. Eliot and Ezra Pound were in large measure its leaders they were influenced by the French symbolists no doubt, but they had brought in their own theoretical ammunition was supplied of course, by T. E. Hirm few of those in the new movement accepted the complete balance sheet as Hirm prepared it, but many were influenced by his insistence on hardness and clarity. So, it has to be clear and hard the objects it is almost like real case thing poets as if the whole object has to strike you the physical object has to strike you by its clarity and his war on self expression as a literary ideal. Well, so let us look at this interconnections which is going on between a forticism which was a movement in arts and between the writing of poetry. Ezra Pound aligned himself with Wyndham Lewis's forticism around 1914 probably because it offered the seduction of an alliance between painting sculpture and literature and because Lewis movement more resemble cubism and featureism this were different movements which came later. Imagism as a literary movement therefore, we are coming to a form of poetry which was called imagist poetry or imagism. So, what was this this was a literary movement did not adopt the global and confrontational stance of featureism setting out the intention in a defined manifesto printed in the journal Blas the vortices saw themselves as an audacious new movement in British art and an alternative to cubism, expressionism and the Italian featureist. So, you found that vorticism was another movement which was an answer almost to what was happening across the borders in cubism expression in Europe all over an Italian featureist. If we examine Ezra Pound's that poem in a station of the metro written in 1916 let me read it out this is almost based on the haiku poems of the Japanese 7th syllable poems. This is the poem the apparition of this faces in the crowd battles on a wet black bow. So, you can just see hard images which has come in and this makes the whole poem a station of the metro he writes about how this facial aspect of color of hard images inspired him to write and of course, the oriental conditions of representation as he writes that every concept every emotion presents itself to the vivid consciousness in some primary form this was what I was telling you just now about going for the essentials in the basic form in the primary form even if it is color it is in its primary color even if it is thought it has to be in its primary sense it belongs to the art of this form. I do not mean that I found words, but there came an equation not in speech, but in little splotches of color this equation between the visual culture and in painting or in how a painter or an artist is the world it was just that a pattern. So, he looked at the patterning of if by pattern you mean something which I repeat in it, but it was a word the beginning for me of a language in color. So, the dimensions of color has been transported or the dimensions of pigment has been transported to literary creativity. We had just mentioned just now that the French symbolic poets like Charles Baudelaire all this had a great influence upon the modernists especially the modern poets they were admired for the sophistication of their imagery not only because of what they said on the surface, but because of the implied symbolism of every object that they portrayed it may go back to many associations may be dealing with mythic social anthropological and literary and it was the invention of verse labor that was adopted by the images which they called the free verse. The symbolists wanted to be precise in order to be properly suggestive, precision, individuality and exact curve of the thing and maximum symbolic projection of meaning were seen as going together. We find the symbolist movement again being experimented in the novels of Ernest Hemingway later and when he talks about the theory of implication where a word carries in layers of subtle meanings and, but the word itself is very precise and very clear and it is not being adorned by any adjectives or adverbs. The poet was the explorer of experience who used language in order to build up rich patterns of meaning. So, language became a tool to write simply, but at the same time to write with meaning required repeated close examination before they communicated themselves fully to the reader. So, what was free verse as we have seen how they were influenced by different symbolists poetry organized to the cadences of speech and image pattern. So, now poetry becomes more closer to the colloquial speech, the rhythms of colloquial speech and image patterns rather than according to a regular matrix scheme. So, it was more or less the music of ideas than the music of and the rhythm was the rhythm of ideas and a very very cerebral form of jugglery of words or you can say cerebral form of exercise poetry became very intellectual. Its rhythms are based on patterned elements such as sounds. So, these rhythms were not only based on rhyme or meter, but it was on patterned elements such as sounds, words, phrases, sentences, paragraphs, constant vacillation between adherence to and departure from rhyme and regular meter. So, you could explore in different ways, you could bring in even prose, you can bring in drama, you can bring in phrases and there was this complete juxtaposition between the old and the new. It is this contrast between fixity and flux which is fluid at the same time which is the very life of verse Eliot claims concluding that the division between conservative verse and verse liver does not exist and he says we cannot distinguish between conservative verse and verse liver because there is only good verse, there can be only good verse, bad verse and chaos this was his line. So, the images movement we are paying much attention to it here more than the other movements because it was very modern in its conception and in the way that not only in the way that they wrote, but also in the way that they brought about the themes of their poetry. Demanded clear and precise images which we have already done elimination of every word that did not contribute to the presentation. Just now I told you that this completely almost unadorned spare style and very clear hard visual images and a rhythm freed from the artificial demands of metrical regularity. The images among them as your pound who was one of the pioneers sought to boil language down to the absolute essence as we saw in the station in a metro. This poem which is so suggestive of what you see graphically as well as how it strikes you as a poem. They wanted poetry to concentrate entirely upon the thing itself in the words of critic poet Humb, minimalist language and a kind of directness. A new call some might say mechanized poetics. Images poetry was almost always short unripe and noticeably very sparse in terms of adjectives and adverbs. It was natural language at the same time and let me remind you that we had even in the 10th century the haiku poems, poets poems of the Japanese and they also experimented with this form. And Ezra Pound was influenced by this form of poetic technique and the 17 syllable poem and this is where he talks about the sparness, the sparseness, the understanding of space, the understanding of nature, the understanding of essence in which the words unadorned words can be represented. Complex, elusive using abrupt contrast and shifting counter suggestions to help unhold the meaning. This juxtapositions between different different images eliminating all conjunctive phrases depending entirely on the music of ideas like Eliot's long poem, The Wasteland. We have proof of two was the first major example of the new poetry and it remains a watershed in both English and American literary history. Many people say Eliot's long poem The Wasteland in 1922 was the first major example of new poetry. So, while we are doing the images movement naturally we come to T. S. Eliot and T. S. Eliot dominates the scene. T. S. Eliot would eventually settle in England of course, even though he was from American origin where he would produce some of the greatest poetry and criticism of the last century. Eliot picked up where the images left off while adding some of his own peculiar aesthetics to the mix. When we try to understand aesthetics we have to remember it deals with beauty, it deals with form, it deals with design, it deals with poetics, it deals with representation. Therefore, the creative process is itself a very serious process. A poet according to Eliot ultimately has to have a different idea of the world. It is not that he just writes out of his native with, it is that his sensibility has to be cultivated and this cultivation of sensibility is that he has to also have a different idea of how to write a poem. Therefore, a writing poetry or a poet becomes a very serious occupation. His principal contribution to 20th century verse was a return to highly intellectual elusive poetry. When we look into this, all right, elusive poetry, a word denotes so many layers of associations. Therefore, you have to understand the myth connected with it. You have to understand the historical background connected with the word and therefore, this idea of symbolism or the way that an elusive nature of poetry came into being. Even his blueprints were 17th century, even though he went to 17th century metaphysical poems. So, we will come here that his seamlessly moves from very high formal verse into a more conversational easy style. So, his poems that he wrote, sometimes short poems at the same time very long poems which are highly elusive and his poetic voice becomes sometimes colloquial, sometimes mythic, sometimes dramatic. It is this layering of meanings and contrasting of styles that mark modernist poetry in general and T. S. Eliot in particular. So, if I ask you the question, what is modernist poetry? You cannot say that it only deals with something which is new. You have to understand the new methods of how you are transcreating the old myths and fables and how you are juxtaposing them in your way of writing a poem. It is no overstatement to say that Eliot was the pioneer of the ironic mode in poetry. It is almost like the dramatic monologue like we had in the Victorian times, Robert Browning and there were so many irony tools of the drama being transferred to the writing of poetry. That is the set if appearance hiding difficult truths which was the tool of Shakespeare we find how it has been continuing the fluid continuing flow of the river of the literary expressions goes on from one age to the other. Critics often single out the Wesleyan as the definitive sample of modernist literature years, but at the same time Eliot fully displays all the convention which one expects in modernist literature like self, inwardness, consciousness, the laws of traditional structures and a fluid nature to truth and knowledge. So, this radical new experiments and poetry if we look into it as an overview how do we see it? The modernists were not entirely anti-tradition yes do not mistake that right and many like T. S. Eliot argued that modern poets must have an extensive knowledge of tradition which he called the historical sense. We will do a little bit later from his essay tradition and individual talent and you will find that he looked to 17th century metaphysical poets as a sort of inspiration the works of Dan the poets that we had done in the 17th century. Who worked with different experimentation with simile analogies of the literature with comparison with metaphor. Starting new comparison T. S. Eliot's the love song of J. Alfred Prufork it is a beautiful poem which starts like this. Let us go Dan you and I when the evening is spread out against the sky like a patient a theorized upon a table. So this is a completely different startling comparison where the evening is compared like a patient a theorized upon a table and you have to understand the elusive association which goes into this simile that is used. And it appears likely that what he had said in his essay the metaphysical poets this is a quote from the essay. It appears likely that poets in our civilization that is in our civilization in the modern times must be difficult. So you have to bring a cerebral slant to the writing of poetry and in order to be taken seriously you have to be cerebral. And another essay Ulysses order and myth written in 1923 he writes that in manipulating and continuous parallel between contemporaneity and antiquity. So this continuity and antiquity which is being shown. So we had referred to tradition and individual talent the essay which was almost a landmark in writing poetry. And T. S. Eliot wrote that this historical sense which is a sense of the timeless as well as the temporal and of the timeless and of the temporal together is what makes a writer traditional. So many people who tries to understand what is modern poetry what is modern literature go back to this essay and understands in full probably in its own sensitivity how modernism comes into the whole idea of the creative process where he gives this very famous line. It is in this depersonalization that art may be said to approach the condition of science. He allies it to science poetry is not a turning lose of emotion but an escape from emotion. It is not expression of personality but an escape from personality and the emotion of art is impersonal this it goes on emphasizing and the poet cannot reach this impersonality without surrendering himself wholly to the work to be done. So this is just the opposite of what the romantics have said about the subjective response of a heightened sensibility. And we find that it is the whole idea of writing poetry is the impersonal self and the idea of the impersonal self has layers of consciousness layers of understanding of the world around. Well, I think it will not be right if we negate the influence of modern journalism specially in the way of the creative output of the modern times. The newspaper of today has influenced literature both for good or ill maybe some have gone into sensationalism maybe to yellow journalism has led to the output of popular power fiction all even with all this at its worst it has encouraged superficiality in life and letters. But at the same time we have to see this journalism or journalistic mode of writing has also influenced the writing of poetry as well as novel like in a hamming way where you tried to bring out the headlines as it is you had to strike the reader with lines which were full of energy with its clearness, conciseness and reality. Its effect upon poetry can be coached by Gloucester and Mr. Kipling's verse and we had the barrack room ballads through the work of W. B. Henley and John Davidson. Well, now let us go into the different survey different genre all together during the modern times the general survey of the novel. The English novel as we have seen was essentially bourgeois in its origins and throughout the 18th and 19th centuries it was solidly incurred in a social world in the hands of Brontës, Dickens we had all done that George Eliot and Meredith. Its growing importance has been accompanied by serious study of the art of the novelist. So, what is the theory or the critical theory or the criticism which is a technical point of view of writing a novel the art of the novel also burgeoned with the with the growth of the novel well. So, while we are doing the novel let me say that this is a very general survey of the modern times. We may have omitted some of the great poets of the time yes we are doing only the movements which was very very dominant during the time and already we have covered this in the module on genres and probably the continuous exchange between one genre to the other or from one age to the other has been dealt with more in that than here. But here we are doing just the different literary characteristics of the age as an overview and in doing that there may have been some omissions which you can look up in the in the other lectures. Now, when we look at this conception of the novel as an art form we find that the aim and scope of the novel is the technical point of view of the novelist is seriously post in England for the first time and social class and states of mind two things which were subjects of concern. One was it provided human and atmosphere and local color as well as motivation for self advancement. When we look at social class we find that it was not only place for society did not just give you place for introspection and for as a critic of society, but also it was a topic for humor, atmosphere and local color. To believe that impression hold good for others wrote Virginia Woolf of Jane Austen is to be released from the cramp and confinement of personality. Mrs. Woolf intensely personal and individual way of representation depending on subtle shapes of mood and feeling. Now, you will have to see how is this different from the way that poetry was written. If you compare Virginia Woolf's novels with her sudden shapes of mood and feeling you will find that it is subjective at the same time it is very personal and at the same time Eliot had said that one has to be impersonal in writing poetry. So, you find this juxtaposition of different metals of representation. The novel had been moving towards a greater increase in psychological subtlety. So, the states of mind where they were talking about streams of consciousness Henry James in particular had brought a new precision and complexity into the description of states of mind and a new kind of narration. This is what Roland Barthes had written in the essay the literature of replenishment. Let me quote from here. It was a new kind of narration, the radical disruption of linear flow of narrative, the frustration of conventional expectation concerning unity and coherence or plot and character and the cause and effect development thereof. The deployment of ironic and ambiguous juxtapositions. So, this is almost like what had happened in poetry. The adoption of a tone of epistemological self mockery. So, philosophical idea of how you look at yourself aimed at naive naive pretensions of bourgeois rationality. The opposition of inward consciousness again to rational public objective discourse and an inclination to subjective distortion. Mind you, this is subjective distortion to point up the evanescence of the social world of the 19th century bourgeois. So, it was 1920s that a full impact of these three factors the apparent collapse of public standard. There was complete alienation. There was no conformity with the things that were going on. New notions of time, new notions of consciousness which we had done. It was really very remarkable. There was this exploration of new dimensions of consciousness where you could shift from the scientific to the psychological to the literary to the artistic. The isolation of the individual consciousness where every individual was seen to be the prisoner of his unique stream of consciousness. So, every individual if taken in his entirety you will find that he has his own unique way of representation. The difference between the private stream of consciousness and public juxtapositions is emphasized again and again in James Joyce Ulysses. Well, so, this was a new kind of narration as it was a new kind of writing poetry during the images and in T. S. Eliot's time. The unreliable narrator, so, this is a narrator who goes on fluctuating supplemented the omniscient trustworthy narrator of preceding centuries. James Joyce Ulysses is the prime example of a novel whose evils are really the happenings of the mind. If you have read it and I would advise you to read it, you will be taken into pathways of the mind. The goal of his is to translate as well as possible the strange pathways of human consciousness. A whole new perspective came into being known as the stream of consciousness. It is like a stream, the inner space of the human mind and the psychoanalytic theory of Sigmund Freud. We can also refer to Joseph Conradt who was writing, was a deeply pessimistic novelist and his own comments in his novels and stories which are not always to be trusted. He all often describes them as deriving from a simpler ethical impulse than they clearly do. So, he had this moral virtues which he presented of, he was a giant also in the modern field and key to his moral vision. We have Virginia Woolf whom we have mentioned just now, Mrs. Dalloway to the Lighthouse, great modern epics, great modern classics. Then James Joyce faced the implications of the loss of the world of public values. D. H. Lawrence was an English novelist, poet, playwright and says who talked about the living life, the living force, the essence of life about emotional vitalities, spontaneity and instinct more or less and significant representative of modernism in English literature. But we have also to remember the French and the Russian influence. The French we have already seen was a great, the symbolist had a great part to play in the writing of poetry. We have the French and Russian influence in the novel from flower to Jola to Mopasa and Balzac English writers learn the minutely accurate portrayal of everyday life. So, this was the exchange between different borders and the new conception of the novel as an art form in the structure, pattern, style and finish where of fundamental importance. In Dostoevsky, Targinal, Tolstoy they found a new interest in the darker hidden sides of human nature and a different form and structure. This are completely different icons in their own ways. Each one of them has something unique to offer and across the continent, over the continent we find this exchange is way going on. So, therefore, we find another writer, George Augustus Moore confessions of young men, where he really experimented with artistic representation and he wanted to translate it into his own novels. He was an Irishman and absorbs the lesson of the French realist and specially of Emily Jola and many say that his writings in French James Joyce. E. M. Posture also we cannot ignore. He published the last of his five novels that passes to India in 1924. So, it gives a different theme of human relationship and when he had exhausted it on fiction he wrote no more novels. It was mostly about relatedness about the people how they reacted to circumstances in different settings. So, the survival of the romance we have seen in the novel resurrected by Stevenson inspired by Kipling of course, Heights by Conrad whom we had already done. The unusual exotic and the remote they also explored this parts. If we continue in the comic tradition we cannot but fail to mention P. G. O. Thouse. I think he was a favorite among all students, school boys and even adults and he brought in a different social critique of the British aristocrity with all their misunderstanding and endless social rounds. Therefore, we had so many different ideas of I mean different areas of where the novel experimented. The novel of ideas, the social purpose, science fiction, mysteries, fantasies like Harry Potter series, romance like Dr. Javago, then magic realism like Salman Rasty's Midnight Children. Let me now also mention the last generation which was something which have to be looked into in American literature the group of writers and thinkers known as the last generation has become synonymous with modernism. In the wake of the first world war what had happened? Seven American artists had chose to live abroad especially their favorite destination was Paris as they pursued decorative impulse. This included the intellectual Gertrude Stain, the novelist Ernest Hemingway and Ernest Hemingway's novels are famous for the extremely spare, blunt and simple sentences. Many say he is the representative novelist of modern times. All should become relative for Hemingway this meant the abandonment of all ornamental language like we had in images poetry. The first nine of novels if we look into Hemingway's farewell to arms it starts with this line in the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains you see how it opens. So, simply only the use of the very primary nouns another one from the old man and the sea. He was an old man who fished alone in a skiff in the Gulf stream and he had gone 84 days now without taking a fish. These are the famous first lines of his novels. So side by side with the novel we had already mentioned that the technique and the way that a novel has to be written also was developed. So, the 20th century literary theory was a form of a very dynamic area of study. The subject matter of literary criticism is an art and criticism is evidently something of an art too. Every art however needs his own critical organization and we post the novel as a question since it has been the center of all critical discourse. We had formalism, structuralism, narrator logic, deconstruction, psychoanalysis, Marxism, gender, postcolonialism, reader response, cultural studies all these different ways of critical theory which looked into the novel. Let before we conclude let us look into the rebirth of the drama in the modern times after 100 years of insignificance drama again appears as an important literary form even though it was the age of prose even though you say that it was one way or the other poetry also included into the realm of prose even then we see the drama also showed his presence. Like the novelist most of the important dramatists were chiefly concerned with contemporary social scene and though towards the end of the period there are signs of a revival of poetic drama prose is the normal medium. So, this Ranasan of the drama we can mention Barnard Shaw, Oscar Will, St. and now has this been confined to England we have seen how they had been influenced by Ibsen, Norwegian did for his countrymen Mr. Barnard Shaw and his followers have done for the English drama specially the drama for of ideas which we call and the drama which may be not art for art sake, but art for life sake. The pivotal and innovative contribution of the Norwegian and Rikipsen German Bartel Brakth dominate modern drama tradition of imitators rose up after them which includes many and the greatest playwrights of the modern era. Other important playwrights of the modern era include Arthur Stringbird, Anton Chekhov, Garcia Lorca, Arthur Miller, Enesco, Samuel Beckett, Dario Four. Waiting for Godot many of you must have read that in 1948 first of course it appeared in his French version later it was translated into English it was an absurd drama in which two characters are waiting for someone who never comes a very popular drama at all Arthur Miller's for all my sons and that of a sense man. Now the growth of realism the problem pay also came here and the drama of ideas which we had mentioned just now as a drama of the early 20th century the growing popularity of the short story we cannot ignore this part too short story we find that it also became very much popular and we had foreign influences very equally strong in the short story we had Mopasa we had so many others and we there are Hardy, Gissing, Kipling Wells and more all use this medium with success. Somerset mom and Henry James perhaps the greatest short story writer in English. So, now while coming to the end of this module of this lecture let us have a retrospective view of what has happened by the second world war what has English literature taken on the image is continuing to experience fundamental changes. There was already a strong reaction against the pretensions of the modern artists of this newer generation pursued a more democratic pluralistic mode for poetry and the novel optimism, commercialism and the popular audience we are coming to the postmodern travel writing and utopian and science fiction deeper engagement with postcolonial and Oman's writing. So, it is almost like mini narratives which are going on within British studies Irish and Scottish writing also has raised its head. So, do Hispanic and Native American writing in American studies a multicultural and cross disciplinary construction of the subject has come in this is manifest in attention to previously marginal genres even in genres as life writing. This introduces the sheer richness and variety as well as the complexity and contentiousness of contemporary English studies. So, when we come from the modern to contemporary English studies in the next lecture we will be dealing with Indian writing in English and we will find that in contemporary English studies how it includes so many perspectives English it is shown can refer to many interrelated things languages, literatures, peoples and cultures. Sometimes studies supported by visual, audio visual and other documentary material and film increasingly features as an object and process in its own right. So, when we look at modern literature and even in post modern literature even in contemporary literature we see that all these are linked together film and literature, then painting and literature, audio visual aids and literature, the visual and literature not just as illustration or enhancement of a verbal text. So, technology has somewhere changed the subject actual and the virtual communities technology has always been implicitly central to an understanding of what English is or can be after all without manuscript and pens and without paper and print technologies there would be no text and nothing to read and virtually no historical dimension to the subject at all. So, we have come arrived at the 20th century gone through the 20th century at least three further communication revolution one in the audio visual and telecommunications video or tele telephone, radio, film, television and audio and video recording another in electronic computing technologies and digital information processing. So, the discussion will be what does how does a particular work of literature in relation to questions of modernity you have to understand what is modernism about what is the modernist text and if we look at a critical analysis of a modern fiction how do we go through it do we look into the technique do we look into the theme do we look into the way of representation and the role of literature in relation to contemporary aesthetics. So, this is one form that you have to also do a homework on what is contemporary aesthetics is it something which has been derived from the past or other modifications which have been brought about what is actually modern when does the modern age begin what characteristics set of a work of literature art or drama as being modern. So, how do you see in the different genres that we had done how was it that they were termed as modern examine the historical and political context in which this new approaches emerge. So, the references were almost the same references we had done in the previous lectures and especially Edward history of English literature and William J. Long's English literature is history and significance for the life of the English speaking world. Thank you.


Hey folks, I'm Pat Schloss. Over the past couple of months, I have been trying to do a deep dive into what I consider the most critical components of base R that anyone using R should learn sooner rather than later. Yes, we have great tools like the functions and packages that are part of the tidyverse, but when it comes down to it, there are other parts of R, the base R, the things that come installed with R that are really important to know. Now this episode isn't really about using base R. It's about maybe using R and the base of R. Now what do I mean by that? Well, in all of the episodes of Code Club that are part of this series and probably nearly all of my episodes, we have done everything in RStudio. RStudio is something that's called an integrated development environment, an IDE or ID. I think I've heard people pronounce that. What is RStudio? Well, RStudio runs on top of R. So when you install RStudio, you also have to have R installed. In fact, when you open up RStudio, you'll get this window on the left side, this console window, which is R, right? Everything else that's in here as part of RStudio is extra. This is stuff that RStudio brings to R to make your environment, to make your time in R more attractive and easier, right? So we have like a finder window that allows you to see what does your project look like. You have information about the environment, what variables are loaded, what's the history of different commands you can use get within RStudio. It makes things easy, right? I can open up a text editor and type things in here and have them run down below in my console, right? It just makes everything easy. So RStudio is wonderful. Why would we ever not want to work in RStudio? Well, there's actually a couple of different reasons why we wouldn't want to work in RStudio. So the first is that it's graphical. There are oftentimes where I am working on a project that requires a lot of computational firepower. And so I have to do that up on high performance computer cluster up on that HPC. Everything is done through a terminal. I don't have a graphical interface. And so I often run R from that command line interface without the benefit of using RStudio. A second reason why I might not want to use RStudio and I'd rather work in the terminal is if I'm trying to automate things. So if I have a project and I've got this workflow of different scripts that I need to run to process my data, then I don't want to do that within RStudio because that's going to require a lot of input from me after on this command and then this command. And I'm doing kind of a lot of manual entering of commands in a terminal. I can work with a workflow manager like make or snake make to automate the running of all my different scripts and to keep track of the dependencies for those different scripts. That's just something that's not so easy to do within RStudio. So for those two reasons, the lack of a graphical interface and the need to automate things, oftentimes while I will develop a lot of my code here in RStudio, I ultimately end up running it over in a terminal. And so in this episode, I'm going to show you how we can work within the terminal and what things are different, what things are the same. And you know how you can recreate an environment that's a lot like what we have here in RStudio, but makes use of the great features of running things from the command line. So as you know, I have a Mac. This is my terminal window, the command line interface, you might have a percent sign instead of a dollar sign. But this should generally look like what you have if you have a Mac, or if you're on a Linux computer, or if you've logged into a Linux computer on your high performance computer. In a moment, I'll show you what things might look like if you're on a Windows computer. So again, if you're on a Mac or Linux, you'll have this tilde and then a dollar sign or tilde percent sign that tilde indicates you're in the home directory. So my distances project is on my desktop. So I can do CD desktop, distances, and then I can do LS. And then I can see the directories and files that are in my distances directory. And then I can type R and voila, there is my R session. This looks a lot like what we might expect to see in the left side here of our RStudio session, right? This is the R component of RStudio. Now let me show you what things would look like on Windows. So I have Windows running on a parallels emulation on my Mac. So things might look a little bit different than what you're used to if you're running Windows for real. But again, down here in type here to search, I can do cmd or type in command prompt to pull up that app. Again, I'm in my home directory on the Windows side of the computer. I can do CD desktop, CD distances. And then if I do dir, I can see the contents of that directory. And I can then type R and that will again launch R here in my terminal. Now for Windows users, I did have to install R on my path. If you Google for Windows path, add, you will find instructions for how you can add R to your path, so that at the command prompt, all you have to do is type R and voila, it should work. We'll come back to the Mac environment for the rest of the episode, but know that things should be the same between Mac, Linux, and Windows from here on out. If I want to quit out of R, I can do Q, open, close parentheses. Again, that brings me out. Sometimes depending on how you have R configured, it might ask if you want to save the current workstation, click no, because you don't want to save anything between different sessions. That gets a little bit too far into the weeds of configuring R that I want to go in this episode. If you want more guidance on that, by all means leave a comment down below this episode and we can follow up with that later. Now another way that we can run R from the command prompt is by using a function called R script or an app called R script. So we can do R script, and then I can give the path to the R script that I want it to actually run. And so I could do code forward slash analysis dot R. This will then run all the code that is in my analysis dot R script. So what is that? Well, one other thing that we need to make our useful on the command line is a text editor. And so one text editor we might use would be nano. So we could do code forward slash analysis. So I'll go ahead and add a line to this to write something out. So we could then do write TSV. And the object so x will be dist tbl. And then the output file will be dist dot TSV. And so I'll go ahead and save this and exit out. And again, I can rerun our script code analysis dot R. It does all that. And now if I do it now less, I see sure enough, I have this TSV. And in fact, if I had done nano on this TSV, I can then see that output. So if I only want to work within the terminal, this will work. I won't say it works great, because nano is a bit of a pain in the rear. Other alternatives to using nano as a text editor within the terminal would be to learn Vim or Emacs. I personally prefer to use a text editor called atom. So Adam will run on any operating system. And so I can do Adam and then period, this will then open my text editor with my project directory on the left side, and then all of my code all my text here as well. And you can see I've got this TSV. I've got my code window I can open up analysis dot R. And so one of the nice things about this is that I can come back to my terminal, I can launch R, and then I can kind of go back and forth, right? So I have a really nice environment to work in here as a text editor. There's a variety of features I've added to Adam to make it easier to write our code here in the text editor. So for example, I can highlight these lines, I can hit command enter, and then it will run those in my browser. So I can also do this up on a HPC, right? So there are a variety of tools that you can add to these different text editors to make it easy to work on your local computer as a terminal while interacting with code and with the computers up on the HPC. A variety of other text editors that are out there that I know people find useful is BB edit, I used BB edit or its predecessor text wrangler for a long time. People in my lab have really grown to like virtual studio code. It's put out by Microsoft, it's completely free, and it does a really nice job of working with kind of this remote connection of using a high performance computer. Another option I know people in my lab have enjoyed using is Sublime. I think you have to pay a little bit extra to get the good features, but people really like it. But really if you want something free, I think Adam is very popular, virtual studio code is very popular. Again, what we're trying to do is replace the text editor functionality that we enjoy with RStudio, but in a case where we perhaps can't be running our studio to develop our code, say if we're working with a remote computer like on an HPC, one of the things you've perhaps grown to like about working in our studio is the integration with get and GitHub. Well, Adam, it was originally produced by the people that develop get and GitHub. And so one of the things you'll notice over here in my project tab is that I have different colors of files now, right? So orange or this orange is yellowish color indicates that something that's already part of the repository has been changed, whereas green is something that's new. If it's in black like this, read me, then it's already committed and nothing's been changed. There are other things that if it's grayed out, then this is something that get is not actually tracking. You'll notice down here at the bottom we have get with the two. This will open a graphical interface within Adam for working with get and GitHub to make your commits and different types of things there. I typically if I'm working in this environment would be doing my get messages at the command prompt rather than within Adam here. But again, people find both to be really useful. Any of these different text editors will have either add ons or built in features that allow you to integrate directly with get and GitHub so that you can use version control while you're up on that high performance computer. And again, is just really nice feature. I want to illustrate a couple other things that I think are important to realize when you're working from the command line. So one of the things that's nice about working in our studio is again, the bottom right corner of our studio is often where you might see plots being displayed for you. And so how do we display plots here in the terminal? Well, perhaps we could do something like disk tibble, and I could then pipe that to ggplot. I could do AES x equals f3d0, y equals f3d1. Again, these are meaningless plots. And then I could do plus geome point. So that runs the code in R and opens up a separate window that allows me to see the plot being represented. Again, if you're working on an HPC where you don't have that graphical interface, you're not going to be able to see this figure. Ultimately, that's why I like to use things like gg save, where I can then say test dot PDF, and that will then save the image. And if I quit out of R, I can then see that I've got test dot PDFs where I could do open test dot PDF. And there you go. One of the other things that we like about working within our studio is that it's easy to get help, right? And so how would we get help outside of our studio? Well, the question mark is a powerful tool from base R. See, there we got some base R in. So if you put in the question mark, and then the name of a function, that will then give you the help page for that function. So if I do question mark g sub, then this is going to give me a help page for all of the things related to g sub grep grep all sub, these are base R versions of functions from the string R package, right? And so you can hit the space bar to kind of tab through different elements of this help page, right? And so again, this would be the same thing that you would find over in our studio, if you went to the help tab and typed g sub, right? So this is the same page here on the lower right corner that I would find over here in the terminal. One of the other things that we really like about working within our studio is that it's easy to install and update packages. Well, you can do the same thing, of course, within R from the command line by typing install dot packages. And then in quotes, let's put the name of a package, I'm going to put the here package. So this opens a dialogue window asking me which Cran mirror I want to install from, I'm going to go ahead and do zero cloud. And I'll click okay. And so this will then install the here package. If you watch the last episode where I talked about paths, the here package is a helpful package for kind of making using paths a little bit easier. So again, this is how we can install packages from within R at the command prompt, we could also do update packages. And let's put in ggplot to and then that function will update my ggplot to package if it needs to be updated. And I think it was already up to date. So nothing really happened there. Finally, I want to let you know that if you are a little bit leery of working from the command line or using these text editors, I would encourage you to perhaps reach out to your systems administrator and see if they could install our studio server for you and for your other colleagues at your institution. Our studio server is a browser based implementation of our studio. And so while it perhaps doesn't help all that much with automation, it does give you that nice integrated development environment that IDE up on your HPC. I find it a little bit frustrating because I like to use a lot of keystrokes to do simple things. And a lot of those keystrokes for our studio overlap with keystrokes for my browser. And so that just causes headaches for me, right? If nothing else, I hope that this episode helps you to have a greater appreciation for all the great things that our studio allows you to do. At the same time, I hope you also appreciate that our studio isn't the only game in town for running R. You can create your own makeshift IDE environment for working within R. You need a terminal, which we've shown here. You need a text editor. And then you need to work with your file system to output files, output figures, and then more easily see them on your computer, especially if you're working on a remote computer where you don't have that easy access. Again, this all takes practice in getting comfortable and used to the different environments that you're working in. I would encourage you to try these different systems. Perhaps it's easier to work with them on your local computer before you work with them on an HPC, because it's easier to see what's going on on your local computer. Practice with this, and we'll see you next time for another episode of Code Club.


Let's go Get it. This is D crawl going out on the sword boys. This is you trips Know what to do. I know what to do, baby. I know what to do, baby I play offense here boys. I saw we just gotta play offense. I get it. I get it. I get it I get it It's a lot of prentice. So he's gonna have Jerry Rice on corner on top routes. I don't know if he runs your trips I really have no idea. I haven't played this guy. I know skimbo played him. So That's not gonna be good for us on our side, but you know, come on man. Come on.    It's all right.    How bad I gotta stop kicking it to the left.   Oh my god.  Good job, Dion.  Come on, man. There's no way three people are getting me like that, bro. Come on Like there's just no way man. Nice. Damn. I thought they almost got me right there.  That's what we need One more day. Come on Good swat dubby come on work. That's all Make them work. Oh We get off the field. We're good. We're good We're gonna get off the field. God. We had so many chances to end the game That's right too much bad for down down indecisive for down defense man. We're good. Come on Oh get the strip get the strip break that tackle. Let's call beautiful Nolan beautiful Skimo told me you got to have double me. He told me.   He's got a one-sided kick Based on side, we don't do that. We don't do hands team. Come on Jesus. I earned it man. I deserve this Jerry the goat the goat. I don't want to lose any yards. I could pitch it here and run backwards, but I Think I'm good. I think we're going I think we're going to Cali.


Thank you for coming today. My name is Kirstie. I'm the small business center librarian The small business centers on the fourth floor of the main library We have a lot of resources for people starting their businesses and also for people who are currently running their businesses And I welcome you to to come up to the fourth floor and look at all the resources that we have I'm very excited to Welcome Alejandra From the department of the environment who's going to speak to us about how to become a green business in San Francisco Please help me. Welcome Alejandra. Hello everyone. Thank you so much for being here today. Thank you, Kristie My name is Alejandra and I am from the Department of the environment And I work on the San Francisco green business program So I'm here today to show you a little bit more about the program how it works the resources We have available for you all and some of the benefits of becoming a green business So thank you again for being here and I welcome your questions any comments that you have at the end of the presentation Yeah, so the green business program is a free program And we work with small and medium-sized businesses to achieve a wide range of environmental best practices And so through this these practices we help the business save money and resources And so there are over 350 green businesses in San Francisco right now and over 4,000 throughout the state of California within the green business network and So the way that the program works is that we look at a checklist with different sections of sustainability And so one of the sections that we look at is energy And so one of the measures on the checklist is switching to LED lights because it's a great energy saving Source and a lot of money saving potential And so and additionally the LEDs don't have those harmful chemicals that fluorescent bulbs do And so we also like to recognize that not every business is the same So for example for one business switching lights would be huge cost-saving potential But for another business say if you have a grocery store, then maybe refrigeration might be that great energy saving potential So we really like to look at each individual business for their needs and work with them accordingly We also have energy contractors that we work with and so we can set you up with the Consultation for a lighting retrofit or anything else that is needed with no upfront costs So we also look at pollution prevention and we help businesses switch to less toxic cleaning products We recommend products that are certified as safer alternatives than those that carry harmful ingredients and those harmful ingredients You know affect us our bodies as well as ecosystems and a lot of these pollution these pollutants often end up In the ecosystem, so we like to look at products that are like safer choice EPA certified that are all around just have better safer ingredients We also look at solid waste and so we help businesses maximize their composting and recycling abilities We also offer the businesses Opportunities to train their staff and so we can visit your business and talk to your staff about ways to maximize Recycling and composting which in turn also saves the business quite a lot of money We also look at transportation So we help businesses offer commuter benefits for their employees We also help incentivize sustainable modes of transportation like walking biking taking public transit as well And water conservation is also a big one So we'll go to the business and we'll look at your water fixtures to see whether they're saving their water efficient So we'll carry aerators with us and on the spot We can look at your at your faucets to determine whether they're letting a lot of water out of the air out of the faucet and if so on the spot we can just switch it out So that you're not wasting as much Water and if we determine that we can't make those changes on the spot, then we can hook you up with the SFPUC For a free consultation and they are also able to make those changes to your fixtures for free And the last section that we look at is about community and this section is really about engaging your customers the community your clients And letting them know that you hold sustainability as a core value And so we have up to $1,500 for businesses to spend on green purchases or lighting retrofits It is on a first come first serve basis But this money is used for essentially any of any of the items on the checklist It is important to note however that in order to receive these funds You should complete all of the measures that are not associated with any costs first Another important aspect to note is that the program has three levels of recognition The first is the efficiency level and this is the entry level On at this level we really focused on cost savings and resource savings for the business Ways to you to minimize your utility bills Next at the certified level this one takes a little bit of a deeper dive at the business's operations So we look at how you your operation can work more sustainably as well as using like more environmentally friendly products And then at the innovator level that's the highest tier and this one really goes above and beyond for businesses that really want to do Take the extra step in their sustainability journey And so an example of something that we would do at this innovator level would be helping a business switch to 100% renewable energy for example But really all of these levels can be journey a lot of times our businesses will start at the efficiency level and then they'll move up to the certified or the innovator level As they realize that the changes can be made easily. We have plenty of sources to offer everyone and it can be done So the African American art and culture complex is a great example of this. They began at the efficiency level and they moved up to certified and innovator It took them two months to complete the efficiency level four months to complete the certified level and then within an additional two months they were at the innovator level And so here we can talk a bit more about the steps to becoming certified So first you would register your business on the greenbusinessca.org and I'm happy to stick around and help you all do that After registering your business you would schedule a site visit with the green business coordinator So that would be either myself or one of my colleagues and During the site visit we would just visit your business We would do a walkthrough with you of the physical space of your business We would kind of look at all the physical aspects like the light as we mentioned your water fixtures And then we would sit down and discuss the rest of the measures on the checklist After that site visit you would work with your coordinator and you would send any documentation associated with the measures So this can be you know, you can meet we can meet a few weeks after this site visit We don't have to meet in person. We can meet over zoom a phone call Whatever it be and this is really an opportunity for any updates for me to let me know how you're doing on those measures If you have any questions if you need any assistance Anything like that and so we would meet periodically until all of them all of the measures on the checklist have been completed And then finally you would submit any any forms for reimbursement or anything like that Associated with costs you would get your money back And you'd be certified as green business. So here we have some of the benefits of being a green business So at the efficiency level, you know, you get of course cost savings and reimbursements There is a reduction to your environmental impact and your exposure to toxics We have a green business Facebook page that we update regularly. We highlight the green businesses that we work with And we also include you on the green business directory in a map So we have a map of San Francisco green businesses where anyone can see and locate all the business that they're looking for in San Francisco But the green business network also has a directory on their website So anyone in California can search if they're looking for a restaurant if they're looking for a plumber of any type of services They can look and they'll find your information on there They can also just search by zip code and any of the any green business that is near them will be also shown on there So at the certified level, which is a step up You would also receive a certificate signed by the mayor of San Francisco Maryland and breed You'd also receive a green business window sticker that you can put at the front of your business to kind of let your customers know That you're a green business and advertise that you'd also receive a green business award plaque with the name of your business on it and Lots of other logos that you can use to put anywhere front-facing on your business to let everyone know that you're a green business We have a marketing toolkit that we give out to businesses that get certified that they can use So here we have a list of eligible expenses that you can use those $1,500 for so you could use it for an LED lighting retrofit to buy less Let's talk to cleaning products energy efficient appliances if you need like a smart thermostat energy efficient computers Anything essentially that is on the checklist in order to get certified as green business is eligible to use the funds for and So now I just want to say, you know, we really appreciate your interest in becoming a green business and helping make your operations more sustainable We really hope that you joined the green business community You know, there are so many businesses in San Francisco so many across California So every small difference that we make it just has a huge impact So again, thank you all and if you're interested, I'm happy to help you register your business Schedule your certified your first site visit and kick off this process Thank you. I have here my Email as well as those of my colleagues. So if you have any questions, please email me give me a call And I'm happy to help if there's any questions. I'm happy to answer them now Thank you. Yeah


Alright guys an update for you on the Instadreamer. I made a video before just sort of hyping up the Instadreamer maybe a bit too much and just for those of you who didn't see that video I'll link in the description. Basically the Instadreamer is a new device on Kickstarter which allows you to induce lucid dreams in theory by giving you a small vibration on your wrist which triggers you through Pavlovian conditioning to do reality checks after a while of learning you know and practicing these things. The idea is that these vibrations will trigger you to become lucid in your dreams. Now I made a video about this a few weeks ago and I was very excited about the idea but since then I've had a chance to think about what the product is and I've seen a few other videos and comments in particular a video from Daniel Love which by the way a very good lucid dreaming guru very good channel as well you should go and check him out. In which he basically said that it's been overhyped and that the lucid dreaming product or technology industry as a whole tends to be a bit on the hype-y side and to be honest I wanted to address this directly I think that is correct I think that there is too much hype in the lucid dreaming technology industry and that sort of niche and I just think it needs to be you need it needs to be understood so in order to lucid dream right there are things you need to practice and habits you need to build. These things can be learned for free and most of you guys do learn them for free they shouldn't cost a penny right and when you do them you also shouldn't need any supplement or lucid dreaming mask or wristband or anything else like that you shouldn't need anything like that. I think what the lucid dreaming technology industry is trying to accomplish and what the supplement industry is also trying to accomplish is to bring lucid dreaming to a wider audience to the people especially the younger generation who are after that magic bullet we are lazy fundamentally especially the younger ones I know it's hard to hear but you probably agree with me on some level we just want something instantly we want something now instant gratification this is why things like uber are doing so well because we don't want to wait around we just want to download an app press a button and have a taxi delivered to our door in the same way that we just want to download an app press a button and have a lucid dream the problem is that nothing can do that it's not possible it's not possible to press a button and have lucid dream and if it was as you know a few others in the lucid dreaming space have said that company would be worth billions because that's what everybody wants right that's the holy grail if you can find something that can do that you'll be worth instantly a lot of money and nobody would have a problem with buying it you wouldn't need to be on a Kickstarter campaign or a crowdfunding platform so that's the one side of things just to recap you don't need to have technology or a supplement to lucid dream you can learn the things to do it for free the reason I was a bit admittedly over excited in my last video about the instrument is because I found it really interesting novel how a device could be made that in not that enables you to work with your natural processes in tandem it doesn't just rely on pressing a button and lucid dreaming is all focused on training yourself to notice the vibrations on your wrist do reality checks during the day and then also do them during the night now let me just clarify this for everybody I probably wouldn't need such a device and I'm sure a lot of you wouldn't need such a device because you can train yourself to do reality checks in other ways you can use techniques like the mild the mnemonic induced lucid dream you can use other sort of less harsh I guess you could say techniques not like the way back to bed but less harsh ones you don't really need to have a reminder to do a reality check because the things in the dream are the reminder the things like your dream signs the things like you have false awakenings and you can train yourself to have natural reality checks that spontaneously make you lucid the thing I think instant dreamer is doing well is to capture that excitement of lucid dreaming and put it into a technology product that is going to appeal to a wide audience I think lots of people who may not have ever cared about lucid dreaming before are going to see this campaign and and buy one right and then hopefully if they work get into lucid dreaming through the instant dreamer even if they won't end up using it all the time even if it's just a marketing gimmick or a hype to get people into the lucid dreaming space and to want to learn about it I think that's a good thing and no I'm not saying that it's going to guarantee you lucid dreams because nothing can and it probably won't right but what it is doing is it's training people a wider audience to be aware of things like reality checks it's training you to think and to change your mindset to one of I need to remind myself to do reality checks I need to do them throughout the day and if it's going to take a wristband that vibrates on your wrist to do that and to get you into that mindset then so be it it's not super expensive although it is on the bit it is a bit on the pricey side but it's still affordable and I think if it just excites people about lucid dreaming that's a good thing it's done its job the instant dreamer and any other lucid dreaming technology can and will not induce lucid dreams directly that doesn't mean it's not useful because it is useful but it's not what you should focus on you should focus on if you've been brought into the lucid dreaming space by the instant dreamer campaign or you've seen an advert and thought that would be cool right that would be cool to induce lucid dream instantly take that excitement that you have take that curiosity about lucid dreaming that you have developed and channel it into learning techniques into practicing things that will actually give you natural lucid dreams and yes if you've already funded the campaign it's not a problem you know hopefully it will work and hopefully and I think it will be a useful tool but it should not be your focus it's not the holy grail magic bullet for lucid dreaming it can never be I think it's just going to be a tool that you can use much like a dream journal much like if you want to use supplements you can use supplements and they will give you that boost but they they should never be your focus sure if you take if you supplement vitamin b6 you will have a slight boost in memory recall in dream recall if you take other supplements which are based on acetylcholine yes you will get a slight boost in your chances of becoming lucid you won't get direct lucid dreams because no pill can do that but it's the best thing we have at the moment so that doesn't mean they don't work right because they do give you lucid support right you've heard the term lucid support not lucid induction things like lucid esc like dreamleaf are good right they have fairly good ingredients in them but they can't give you lucid induction they can give you lucid support and even you know on the sales pages it says this they can't directly induce lucid dreams they just make it more likely that you'll have one and you know if that's what it's going to take to get you interested if that's what you need some sort of support even if it's a placebo effect which is not because there are good ingredients but even if it was that's still a good thing because anything that in my opinion anything that gives you more interest in lucid dreaming makes you curious and makes you want to develop it and learn more is not a waste of time and he's actually something good so yes I think there is too much hype in the lucid tech space right now because you know it's a it's a brand new industry there are some companies that are just trying to cash in on it yeah but there are also some companies that are genuinely interested in pushing forward and advancing and actually making something good also full disclosure I have never received any payment for the instant dream of video that was not an advertisement I've never even up until after the video it never even spoken to the people behind it at all it was not part of an affiliate program I received no compensation for making that video I was just commenting on something that had just been sort of breaking news for me that I thought make a good good interesting video that's why I'm making this video to just follow it up a bit and just to understand just to let you understand how I feel about the lucid tech space because I think it's a lot of there are a lot of new things new players coming to this game and I think it's important to focus on what matters which is you can learn lucid dreaming for free you should learn lucid dreaming for free and if you want to use things to help you like if you want to use things like binaural beats like lucid dreaming tech if they if they work that is and like supplements then that's fine focus mainly on what matters which is it's a learnable skill focused on self-awareness which will improve your life that's what matters okay the lucid dreaming tech adverts and the hype marketing campaigns don't matter if there's a good products behind them then obviously listen to what the what the claims are and if you want to get one then get one but don't feel that you have to in order to lucid dream because you absolutely do not so yeah that's today's video I don't know why I didn't make the first video slightly more detailed but I was in a rush at the time and I just thought it would be it was it was a first look guys you know it was a it was a first initial thoughts on the instrument anyway focus on having lucid dreams building your self-awareness and making yourself and other people in the world a better place that's really what matters here not some marketing advert or campaign


Good morning and welcome to CMC markets on Thursday the 18th of April and this quick look at the week ahead beginning the 22nd of April though It'll be a slightly shorter week than normal because of Easter Monday So really we'll be looking at the week ahead starting the 23rd of April even though we do have the German IFO business survey out On the Monday, but judging by the recent PMIs out of Germany. I'm not expecting great things from that Looking ahead to next week. We've had another fairly decent week for European equity markets making new fresh Six-month highs, but we are now starting to run into a little bit of a resistance zone On the German DAX as can be seen from this trend line that I've drawn from the 2018 highs Which was around about 13 and a half thousand It's still short of the all-time highs that we saw in 2017, but nonetheless this level around about 12,200 Is at the moment acting as a nice little buffer a nice nice little selling zone In the up move that's been in place for The past four months or so u.s. Markets have also Come to within touching distance of their previous all-time highs But the s&p hasn't actually been able to sustain a significant move Above 2,900 and I think that for me is likely to be key as we head in to The second week of the easter break But I think for me. I think the most attention for the upcoming week is not so much going to be on the data Certainly we've got a couple of central bank decisions that are likely to be fairly important We've got the bank of japan rate decision Which is due out on 25th and like other central banks around the world any prospect of a tightening of monetary policy here Has been gone has I think been pretty much pushed out In 2020 At the earliest the bank of japan is no different to other central banks when it comes to the weak manufacturing sector manufacturing PMIs in japan Have remained consistently weak as they have In europe we also have a bank of canada rate decision I think it's important to have a look at that in the context of what dollar cad Has been doing over the course of the past few months and essentially That's been trading sideways and they're very much likely I think to shadow The federal reserve the federal reserve has gone soft or dovish on monetary policy And the bank of canada is likely to do the same thing and I think you can really sum up The moves in the canadian dollar with this nice little range that i've drawn on this four-hour chart here 134 133 pay your money takes your choice. I think is really the outlook for there And one of the things that was notable about I think the the last Central bank meeting was that canadian policy makers removed the reference that rates would might need to rise further Over time and I think this month's meeting on the 24th of april is likely to remain dovish the inflation outlook Continues to remain weak. It's currently around one and a half percent Consumer spending has remained muted with retail sales declining three months in a row as such I think rates are likely to stay where they are particularly since governor pollos suggested in recent comments Their interest rates weren't a level well below neutral So moving away from central banks. I've created a nice little watch list For the companies that i'm looking at this week and it's a big week for european bank earnings Namely deuter bank Barclays and royal bank of scotland. So let's start with deuter bank And no prizes for guessing with respect to this chart how weak the outlook for deuter bank looks But it actually is near the top end of its recent range There's been no shortage of Stories about deuter bank in the media over the course of the past few weeks and they've usually been for all of the Wrong reasons its us business continues to remain in the eye of the storm along with speculation About a possible shotgun marriage with respect to commerce bank that i think is becoming increasingly unlikely Which means that deuter bank is probably going to find it's going to have to fend for itself With all the problems that that may bring certainly i think in the context of what we've seen Out of us banks over the course of the past few days It's not been a particularly good earning season in terms of investment bank and trading revenue It's fallen well short of expectations in q1 And i think you can take the view that if us banks are struggling In this fashion, then it's unlikely that european banks will be doing any better. So i think it's unlikely that there will be Any good news for deuter bank and at the moment there is a decent resistance level look through these highs here Which comes in around about 8 euros 30 all the way through there It's been trading in a broad range between the lows at around about seven euros to eight euros 30 So certainly not optimistic on the outlook for deuter bank If we look at barclays an awful lot of the chatter over the course of the past few months has been about One of the one of their shareholders Edward Bramson Who is pushing barclays to offload its underperforming investment banking division at the moment? The share price is near multi-month highs around about 170p We can see that with respect to this six month daily chart here and the 200 day moving average I think any numbers That we get out of barclays we're going to have to not only look At any potential underperformance in an investment banking division And obviously any divisions that it has with mr. Bramson as one of its major shareholders But also in the context of how it's done with respect to the uk economy Given that obviously we've seen that there is some concern about further provisions for non-performing loans and credit card debts Which actually could Come out in the form of its q1 earning statement So barclays banks results are out on the 25th And then on the 26th we have rbs Royal Bank of Scotland and obviously Deutsche Bank as I mentioned earlier now rbs Had a fairly decent run so far this year running into a little bit of a wall around about 275 280 But we'll get a good insight into how brexit and negative european interest rates and low interest rates and A flattening yield curve of affected rbs and the banking sector in general Certainly the slowdown in the uk economy will have affected loan demand across its various businesses Certainly mortgage lending is likely to have taken a hit as well And it'll also be worth keeping an eye on any provisions for ppi and other non-performing items But at the moment I think there's decent Support for rbs around about 240 250 we're above the 200 day moving average And as long as we continue to make higher lows and higher highs Then I think the outlook for rbs is likely to remain positive But the fact that brexit has been extended further Is unlikely to mean that the outlook for uk banks is likely to pick up anytime soon If anything the extension is pretty much the worst of all worlds because it keeps us in limbo For the next six months. What else have we got? We've also got Boeing Now bowings troubles. Well, they're well documented obviously with the 787 max 737 737 max 8 rather I'll be particularly interested in the effects that the recent problems with respect to this aircraft Have had on a the production As well as any large sums that the company may need to set aside in respect of grounded aircraft And compensation in respect of litigation over the coming coming months Likely over the plane getting back in the air anytime soon is diminished in recent weeks due to the enormous brand damage Recent events have done to the aircraft last year. Boeing's commercial airplanes business delivered a record 806 aircraft with an expectation that 2019 would deliver 900 That expectation I think is going to be right revised considerably lower And I think the big question is by how much because the Boeing 737 max 8 makes up 30 percent of the company's profits And they're not going to be able to sell any unless they can repair the brand damage that this This scandal I think has done and I think at the moment investors aren't really waking up to this So we could see a retest of the 200 day moving average Over the course of the next few days if as expected This earnings result if this earnings report is as downbeat as I suspect it might be we've also got tesla tesla motors nice little downtrend in place at the moment with respect to tesla We've got elon musk continuing to shoot his mouth off with respect to car production expectations for 2019 Earlier this month tesla admitted it would miss its delivery target for cars in q1 This week's q1 update is expected to confirm by how much this q1 update is on the 24th Obviously the same day as boeing so the 24th of april a key date for earnings Now despite the fall in deliveries in q1 tesla has insisted it will still meet its annual target of between 360,000 and 400,000 cars for 2019 which is still a big improvement on 2018 But it's a big ask to hit that target As tesla would have to deliver at least 100,000 cars each quarter for the next three quarters Now in q4 of last year it posted a record 90,000 cars So it would have to beat its record production target three months in a row to do that and elon musk is tweeting that he's expecting to produce 500,000 cars this year So i think depending on whether you listen to management or whether you deliver If you choose to listen to elon musk This week we'll find out how tesla intends to work through its delivery backlog As well as fulfilling its annual target but certainly in terms of the highs we're getting lower highs We're getting pressure on the lows if we stay below this trend line And i think the line for least resistance for tesla is likely to be a retesting of these lows That we've seen over the course of the past six to nine months We've also got amazon's latest q1 numbers as well And again here probably not too much to say Apart from the fact that apple and disney have decided to take On the online streaming market putting it in direct competition with amazon prime So not only will amazon prime have netflix to worry about it'll also have to worry about Apple and disney but certainly not for another six months in any case Certainly i think in the context of last year the company posted record profits of three billion Dollars on 72.4 billion of revenue So i think in question and looking at q1 as q1 outperform q4 What are expectations for the rest of the year for amazon Given that we've seen a nice and nice decent run up Back to around about this this sort of resistance level up here Can we go any further it is certainly looking extremely So that's it for this week much more company orientated But hopefully you'll all have a happy easter and i'll speak to you all again next week