Hello, everyone, and welcome to this lesson on derivatives of algebraic inverse functions. We are not talking here of inverse trig functions, nor are we talking about logarithmic functions or exponential functions. We are talking about finding inverses of purely algebraic functions. So let's begin with a review of some things that hopefully sound familiar to you from Algebra 2, starting with the definition of a function. Recall that a function is a set of ordered pairs of relation in which each element of the domain is paired with one and only one element of the range. When you learned about functions, perhaps you recall that there are three representations of a function. The first would be that as a relation, a set of ordered pairs. So for example, we have here the function that is given by the relation of points 5, 3, 2, 3, negative 1, 0, and negative 3, negative 1. The second representation would be that of a graph. And what we have here is a plotting of those four ordered pairs that were in the relation I just provided for you. Starting over on the far left, we have the point negative 3, negative 1, the point negative 1, 0, then 2, 3, and 5, 3. This would be an example of a function because notice each x is paired with only one y. Perhaps you remember the vertical line test. If you were to take a vertical line seen here in red and run it along your graph from the left to the right, if you find that vertical line passes through the curve or the set of points only one place at a time, then you know that you have a function because each x is paired with only one y value. The last of the three representations of a function is that as an equation. So for example, suppose we have the function denoted by f of x to be equal to 2x squared minus 5. Now obviously this is not the equation that models those four ordered pairs in the relation I gave you before. But this is indeed a function because for each x that you substitute into this function, you will obtain only one answer, only one y value. However it is a function. Of course we all know we can graph functions on our graphing calculator. Here we have the graph of that 2x squared minus 5. Think also, since we're looking at the graph, of the vertical line test. If you were to run a vertical line across the graph from the left to the right, that vertical line is passing through the curve only one place at a time, therefore a nice visual for the fact that we do indeed have a function. You would have also learned how to find the inverse of a function from each of these three representations. So let's begin with the representation as a relation. Here we have the same relation that I provided you with before. If we want to find the inverse of this, we simply flip-flop the x and the y values. You will also hopefully remember the notation for the inverse of a function which is f negative one of x. Therefore we obtain the inverse here, 3,5, 3,2, 0, negative 1, negative 1, negative 3. Now the big question is whether or not the inverse you find is itself a function or not. If you take a look at this relation that we have as the inverse of f of x, notice how this x value of 3 is paired with two different y values. It's paired with 5 and then it's paired with 2. Therefore this relationship that is the inverse of f of x is not a function itself. Let's look at finding an inverse graphically. What we have here is the plotting of those ordered pairs we obtained by finding the inverse of that relation we just looked at. So going from the left to the right, that point that was originally negative 3, negative 1, when you invert or flip-flop the x and y values, you now have the point negative 1, negative 3. The point that was originally at 1,0 when you flip-flop the x and y values is now at 0, negative 1. The point that was originally at 2,3 becomes 3,2 and the point that was originally 5,3 becomes the point 3,5. Once again you have a great visual, if you think of the vertical line test, of the fact that this does not represent a function. It fails the vertical line test because you would have the vertical line passing at x equals 3 through two different points. So once again we have a great visual of the fact that this is not a function. Finally, perhaps the most common type of problem you encountered in finding inverses before is when you are working with an equation. So here we once again have our function 2x minus 5. We utilize the same basic idea of flip-flopping the x's and the y's. Now remember f of x is really y and we're going to start by literally exchanging or flip-flopping the x for the y and vice versa. So when we do that, we have x equals 2y squared minus 5. We want to now solve for y. So we have to add over the 5, divide by 2, that isolates the y squared. So when we solve for y, obviously we're going to have to take the square root. And we do need to remember that it's both the positive and negative square root. Our calculators will nicely graph the inverse of a function. So let's go take a look at that and how to do that. So here we have the graph of that parabola 2x squared minus 5. If you want to have the calculator draw the inverse for you. Go back to your working screen and you'll notice over the program button it says draw. So we're going to do second program to bring up our draw menu. And you will notice that number 8 is draw inverse. So simply hit 8. We need to tell the calculator we want it to draw the inverse of that equation we have under y1. So we need to bring up y1. Simply hit your vars button, go across the top to yvars, into function, the first option and voila there is your y1. So simply hit enter once again. So now you'll see it says draw the inverse of that which we have under y1. Hit enter again and you'll notice the view pops to your graph and it draws that sideways parabola that is the inverse of the original f of x function. This also confirms how when we were writing the equation of the inverse algebraically and we took the square root remember of both sides we said it had to be the positive and negative square root. Well this makes sense now because for any of these x values except for negative 5 there are two y values both the positive and the negative of the square root. It also confirms once again if you think of the vertical line test that this sideways parabola is obviously not a function because except for that point at the vertex over at x equals negative 5 the vertical line you would have would cut through the sideways parabola in two places every place you were to move it. So when we rearrange this equation this which we ended up with is our equation for the inverse. So as we've been working through these and recalling how in order to find an inverse we flip-flop the x and the y that brings to mind one of the major characteristics of a function and its inverse. The fact that the domain of f of x becomes the range of the inverse f negative 1 of x and the range of the original function f of x becomes the domain of f negative 1 of x and remember of course the domain is our set of x's the range is the set of y's so this simply is confirming how we know the process works to find the inverse of flip-flopping the x and the y. As we have seen though the big question becomes if the inverse we find is a function itself it does not necessarily have to be the only types of functions that are going to have inverses that are also functions are what we call one-to-one functions. I don't know if you've heard those before a one-to-one function is a function whereby each x is paired with only one y which we know it has to be by definition of a function but at the same time each y comes from only one x it's a one-to-one relationship between the x's and the y's hence the name one-to-one function. So how do you know if a function is one-to-one? You can simply look at the values of the original function and see if each x has only one y as is required by definition of a function but also that each y comes from only one x. Now another way to do this since you are in calculus now you can use the derivative to help you determine if the original function f of x is a one-to-one function. You would find f prime of x the first derivative. You would graph that first derivative and if it is the case that the entire derivative graph is greater than zero meaning it lies above the x-axis for all values of x or if that first derivative graph is less than zero meaning it lies below the x-axis for all values of x then you know the original f of x function is a one-to-one function and therefore you know that when you find the inverse that inverse is guaranteed to also be a function itself. There are two theorems related to functions and their inverses. The first is that if we know the original function f of x is continuous on its domain then the inverse of f of x will also be continuous on its domain and remember the domain of the inverse of f of x would have been the range of the original function. Secondly if f of x is differentiable at the point c comma d meaning you can find the derivative at the point c comma d and if f prime of c is not equal to zero then the inverse of f of x will be differentiable at the point d comma c. Now take a little notice of this and remember what we just discussed about ordered pairs on the graph of the original function versus on the graph of its inverse. If the point on the original function is c comma d remember that on the inverse you need to flip-flop the x's and y's so the point that would then lie on the inverse graph is going to be d comma c. That becomes incredibly important when you're doing some of these problems. So let's now turn to the matter at hand and talk about how to find the derivative of an algebraic inverse function. We're going to start out knowing that we have a function f that is differentiable on an interval i and the function f is going to have an inverse that we are going to denote as f negative one. Then the derivative of that inverse is simply one over the derivative of the original. Now take note of the notation that you see here. These are two of the common notations you're going to see. d dx is obviously derivative and we're finding the derivative of f negative one of x the inverse. Another notation you might see is f negative one prime just like we typically would have f prime. This is f negative one prime of x. Yes it's this simple. You simply do one over the derivative of the original and that is going to always be the derivative of the inverse equation. Most of the time however you are concerned with the derivative at a certain point. So for instance if you wanted to find the derivative at a certain point and we know the point c comma d is on the graph of the original function f. Then we would have the derivative of the inverse function at d is going to be one over f prime of c. Now think again about what we know about ordered pairs on the original graph f of x versus on the inverse graph. c comma d is on the original graph so that means the point on the inverse would be d comma c. If we're finding the derivative of the inverse we all know that number inside the parenthesis is an x value d is the correct x for the point on the inverse graph. That's going to be equal to one over f prime of c because c is the correct x on the graph of the original. That's typically what people will mess up is using the correct x value in the correct place. So let's take a look at an example to serve as a proof that this actually works and we're just going to consider an easy linear equation 2x plus 3 and we want to determine the derivative of its inverse function. So we want to find the derivative of the inverse and we're not looking at this point for a certain location on the graph, we're just looking for the derivative in general. Remember how the rule goes, it's simply one over f prime of x. So we'd have one over the derivative of 2x plus 3 is simply 2. So this is saying that the derivative of the inverse is a half. So to prove it to you in case you're not convinced, let's do it the old fashioned way. Let's actually find the equation of this inverse of the given f of x and then we're actually going to take the derivative of it. So if we want to find the inverse of this equation, we're going to have to flip-flop the x and the y. We're going to have to solve for y so we'd have x minus 3 over 2 equal to y. That is our inverse. Now to make this easy, let's perhaps rewrite it. So our inverse, if we think of x over 2, well that's one half x minus 3 halves. Geez, what's the derivative of that? One half. It's amazing it works, but it will always work and that's the really neat thing about taking derivatives of algebraic inverse functions. It can save you a lot of time, especially when you have more complicated functions. You don't have to actually find the equation of the inverse. You simply invoke this theorem that we know it's going to the derivative of the inverse is going to be 1 over the first derivative of the original and then if by chance you are asked for the derivative at certain points, you just have to be careful to use the correct x with the correct function. That's what you're going to see demonstrated in the example videos that will be provided for you. These typically can be pretty easy.  You do need to keep your thoughts organized. The hardest part is making sure you think through them correctly. But if you do that, I think you will see a good bit of success with these.


Very different and we're on air. This is Jim groom and this is another episode of reclaim today and we have the special privilege and honor of actually inviting someone who was kind of watched the birth of video in many ways John Graham who's joining us from Arizona to talk a little bit about some of his history in video So John welcome. Thank you, Jim Now John, I want to actually start this if it's all right with you just saying how our cross how our past cross and Why we're even having this conversation because I personally find it really it's interesting to me like maybe like you said no one else But for me, this is this is how the web works and it's awesome. So John had found a post that I wrote in 2015 about the first VCR of my family owned the Panasonic Omnivision from 1982 VHS a beautiful kind of like the Cadillac of VCRs of the time And I posted about it and I posted about this other Montgomery Ward two-piece VCR recorder and I posted this years ago three years ago kind of forgot it and I get an email from Yours truly John and which you said hey I actually have a little something to share with you and you might want to take it from there Well, I I'm 70 years old and I decided I needed to clean out my house Get rid of stuff, you know, you accumulate stuff in early in life and you get rid of stuff later in life I was definitely at the get rid of stuff phase and I'm not a pack rat But if I have something that seems to have value to me I I keep it and I look for opportunities to dispose of it without just throwing it away And one of the things was this Montgomery Ward as you say VCR that I had back from I think I bought it in 79 And I think I paid what was it around $1,100 just think for it. Yeah, and so there it was I had this thing. I kept it all these years. It works fine and But it was so old and outdated and just I but I couldn't imagine throwing it away So I went online to look and see if anybody Had any interest in such a thing or if it might be on eBay or somewhere So just a Google search and there that's how I found your post. How bizarre. Yeah So I mean, it's cool too because that's in some ways the power of the blog But it's also For me at the time I got that email for you to give you a little context I work at a company called reclaim hosting. We Help run infrastructure for universities But my kind of passion has been since the 80s video tapes In particular like VHS tapes and video stores So my partner and I found ourselves an interesting situation where we could open What was essentially a 1980s video store in Fredericksburg, Virginia called reclaim video And so when you wrote me that and you showed me the owners out the manual and the fact you paid 1300 for that for that vcr I was like, this is amazing And I was really I mean I was really impressed with you know, the fact the omnivision I didn't know that what is the relationship? Let me ask you this What is the relationship between the Montgomery ward model from like 81? And the panasonic omnivision you bought I think it was like 82 Like so were they just the same model just one was branded? Well, I I don't really know did the Montgomery ward model actually was that branded as a Montgomery ward product? I think it was but I can't see clear enough on the catalog to tell but I think it was I'm not sure My my sense was that it was probably just sold by Montgomery ward because they were kind of a sears And that it was a panasonic a panasonic product yeah as mine was mine was a panasonic product, but uh, I It might have been the model number was closed or something like that But there was this two-piece thing and the reason I bought a two-piece I was working in the business at the time And I was doing professional video I'd started in san francisco and then went to la And then I had a chance to start a new show in Boston called Chronicle Which was going to be an alternative to the way everything was going which was tabloid, you know reality tv So here was a it was it was going to be like the Harvard Of magazine shows the Harvard version of magazine shows are sort of a local 60 minutes So I jumped at that because I was working in la la and getting tired of the frankly the crap that we were turning out and uh, so uh, I went to Boston and uh, I was just at this point in my life Just fascinated by documentaries any documentary My friends said you and I have uh, one of the producers at the station said you and I have lust for documentary And there were a lot of them being done at the time, you know, there was the There was a lot of stuff coming on television The government was supporting public affairs kinds of things are in fact demanding it And so I bought this thing for two reasons one was I would I decided I was going to record every documentary that came along And I watched them and I had a full-time job So I would have to watch them at night and you could set up a timer, you know and record everything So I would I subscribed tv guide and I looked in and I marked all the documentaries and I punched them all into the vcr So it would record them all and the other reason of course the reason I bought the two piece was well I'll probably get a camera at some point and just make my own stuff for my own personal Reasons because I'd done that back in the late 60s and early 70s with a sony portapac So I'd done that before and now we had something that was in color and better and all that kind of stuff And I want to that's a really nice addition So I want to come back to the sony portapac which we talked about offline And that's an interesting story that I haven't really heard too many people talk about about how powerful the sony portapac was To the idea portable video. Is that right?  I could never look at all these documentaries. You know how it is It just was too much and I ended up looking at very little of it Was there was there a kind of when they call it the portable video recorder, right? How portable was it like when you have that unit like was it, you know, super heavy like how How was it? How did they imagine portable in 1982? Well, I just I just sent this thing to you and uh in its little file box that it fit in it fit in a Plastic file box. It was 28 pounds and so one piece, you know, you had Slum over your shoulder that was kind of the electronics and the other piece was Well, actually come to think of it. No the the piece that you had over over your shoulder You had a camera and that and just that piece and then the other piece was the piece that recorded offline So it was pretty light. It really was as was the early portapac The sony portapac was very light the stuff that was really heavy was the early professional video You know, we recorded on uh on three quarter inch umatic That stuff that just was horrifying that was Yeah, I'll I'll go through the weights of all that tell you about what that was like at some point. That was insane But uh, yeah, go ahead. No, no, no, please go on Just to go back to the sony portapac. I had uh started school in 66 And then dropped out in 68 and then back in 1970 at the University of Massachusetts And I uh was a psychology major, but I was interested my my major interest is always Why do people believe what they believe and so the media interests? It's sort of the mcluan thing You know, it's like what what what what is going on here? Why do people just say? Oh, yeah, I believe that because you know some images in front of them and uh, and so when uh, so I took I minored in in mass media and when I went and took that first course the professor said well By the way, we have this new camera that's come out. It's a portable video camera tape action outside as it said The vhs thing That's the title of all our emails back and forth tape action outside because that's what it said in the early days When they were selling the vhs But anyway, this portapak So I went to the equipment room and checked out a portapak and I asked the guys said well When do you want me to return it? He says, I don't know. We got 10 of them. You're the only guy who's asked for one Uh, just check with me every once in a while. So I kept it for two years. I never I never brought it back summer and everything I just kept it because they never nobody else seemed that interested But I thought it was utterly amazing that you could do motion photography Uh out in the field outside for nothing. It didn't cost anything at all You just would recycle this tape and I would just record my life I just think I was like Fred Weissman of my own life I just went out there and I just kept this thing with me all the time. It was light. It was easy to use. It was fun and uh and at home when I go back to The dorm room or whatever the fraternity that I was in I would hook it up to the tv set the black and white tv set Just an rf had an rf output and I just would watch my day I would review my day on video and that was astonishing to me and when you think about it that was in 1970 It really was kind of an astonishing never before in the history of man Had we been able to do that for very little money? I mean if you had lots of money, you could do it in film get the film developed But no one did anything like that. I mean friend Weissman sure he'd set up camera and burn film for a long time But that was professional and this was just amateur and for fun It was amazing to me that I could do that and it's crazy the price point like you said like it was it was 115 or 16 dollars. I think in 1970 Which I mean wouldn't be super cheap, but would totally be affordable for a family I didn't even know uh what that cost because as I say I just borrowed it from the school Yeah, uh And the other thing that I did with it.  It was a television show for his final paper You know, I had some guys sitting in a on a stool in a studio in the format of that time And then rolling tape, you know and something that I'd done outside Environmental issues had always been my thing and so I I did several on that But when I found out how how amazed uh professors and students were by that I made that my standard and so I did quite a number of these videos back when I was in school instead of final exams or instead of final papers Wow, so early video papers and some early video papers. Yeah. Yeah, very Now go ahead. How did it go? So you were at the University of Massachusetts? You kind of explored this new medium, right? That was starting to hit the streets Like what did that like what was the impression of video in 1970 71 like how was it just like What is that like did people understand how it was different from film like was it clear the differences? Uh, no, uh people just saw it as television and that's what I created for them So they didn't have a sense of video and it wasn't film It wasn't home movies because I mean what I was doing with it was kind of just uh documenting my life But uh when I brought something into a classroom, it wasn't a home movie. It was a it was paper You know a video paper and so, uh the format that I used the it was was just a standard, uh television show Again, I got I there was a guy who was at radio on the local radio station It was looking forward to a career in tv eventually went on and had a big career with public broadcasting Mike Moran And I he was my guide had had him sit in the in the in the studio There was a studio a television studio on campus and and I used my little porta pack and Shot him sitting there on his little stool and he would introduce the documentary. Good evening. I'm mark moran and tonight We're going to look at trash you know that kind of like so Yeah, so that so nobody really You know the idea of video the way we have it now and of course now we have You know youtube and everything else the medium keeps changing But it really hasn't happened yet It happened later with the with the magazine show when when when professional videos started to go out in the field It all kind of loosened up and became magazine show and then reality tv later And there is a big jump say between I mean I'm thinking about this in a swath of say a decade between 1970 and say 82 when you bought the the video recorder There was on mass of movement towards video for home video consumption um You could buy a recorder pretty cheaply Anyone and kind of rather than doing the super eight now you were doing video You play it back kind of that whole idea of watching your life that you did in the 70s Was now catching up in the 80s for a mass market. Does that make sense? Yeah, it does and and and I wasn't really doing it. I bet I I wasn't really doing that because I was you know, the reason I bought that two Uh part unit was to do that on video because people were still using I think super eight at that time Mostly to do the kind of home video thing. So that transition was happening But I didn't really do that because um Again, I was more interested in seeing documentaries and and I was out shooting all day in the professional world So I just really never I went to the professional side Wanted to go sort of back to the amateur side But did went that stuck with the professional side after that Well, and you brought something up two things I want to ask first is you when you were remarking about the porta pack and the fact that you know You could shoot it and then go back and watch it and it was instantaneous You can you know, no producing the film, you know, no There was no kind of production or development of that. It just was immediate Now you could edit and so for the things that I brought into the classroom I'd edit for the stuff that I did for myself. I would just roll over the same tape the next day I mean I I videotape my life that day looked at it that night and went over it the next day Now when you were in the product we were in the professional video production One of the films you work from and you showed me the the image and I'll find the image and I'll share it here Is you work with coppola on one from the heart and it kind of when you were talking about the early experiments with video You were doing I mean this was an experiment which he has dubbed electronic cinema That in some ways was revolutionary to kind of what video could mean for a director trying to get an instantaneous Idea of what his shots and the scenes and the miniatures all look like I mean, could you talk at all about your time on one from the heart? Well, he had he had created, you know, he'd made a lot of money on godfather and everything and and And so he created zoetrope studios that he had his his studio actors And he was just awash and money and fame and he could do anything he wanted and so he came to him I think and said Look, we have this high definition video. You ought to take a look at that That's the future and everybody else I thought they went to probably said. Oh, yeah big deal coppola said Cool. And so here he was putting together one from the heart Which is the story that's really it's about two couples in las vegas and they switch they switch And it's kind of a small story It's kind of an intimate story, but he was with all his money. He was doing a huge He was building this these vast sets of las vegas las vegas las vegas on steroids if you can imagine such a thing because it already is and he was creating these sets and they were taking too long to build and and And his actors were rehearsing and they had and they were getting bored and they were just sort of hanging around the studio So there was an atasakinsky and terry gar and everybody was like, all right. What's next francis? You know and well we're waiting for this. We're waiting for the sets to get built and then somebody suddenly had the idea Well, let's oh so oh what he was doing So he had hired this guy named tony fox who was the video guy that he knew and tony was operating this this High-definition video and the video recorder. What was it called? It was a Oh, I can't think of what it was, but it was there was a name for it was it was a video disc It was a high definition video being recorded on video disc where you could write over it It was a big disc. It was like an LP record and Tony had this thing and and so we actually ended up Shooting or tony ended up shooting the storyboard and putting it on the video disc And then he would go and as the actors were rehearsing they would replace scenes on the video disc with actors rehearsing in rehearsal rooms And a couple they just kept looking at this and looking at this and looking at this and saying well, I don't it's not my movie I don't see my movie.  Let's just go to las vegas where all the sets were based on real places Honestly, let's just go to las vegas and shoot the movie And so tony called me tony was a friend of mine back from my san francisco days where he had worked for one Television station. I worked for another in sort of news of public affairs He said hey, let's go shoot this thing with copla So I hired a sound man and he had his sound man and the four of us were the entire team We flew in a uh, I think it was a private jet copla's private jet or something to las vegas Hit the ground went to our hotel rooms. He said just drop your stuff and uh, and let's go shoot the movie And so two cameras two video cameras And we never went back to the motel room till 36 hours later when we grabbed our stuff and got back on the jet And went back to la So we never slept in the beds of these beautiful hotel rooms, you know with jacuzzi's in them, you know He's just many money copla was just anybody then But oh, yeah, that's it. That's awesome. And here's a picture of you With the video camera copla looking like the godfather with that hat Pretty awesome. And who's the gentleman on the left of copla? So I don't I'm sorry that I don't remember his name But he was the guy uh the freelance sound man that I hired for that for that shoot. That's and He did a great thing. We were uh The you know, we were on the streets of vegas and shooting this thing and there were all these famous actors And there was francis cor cor copla, you know harridine stanton and rahl julia and everybody And uh, we started to gather crowds and this is we were doing this non union too, which was pretty bad You know, it's supposed to do anything non union in vegas. We just hit the streets Filming and the word started to get out and we were getting pressed by some people and saying who's that? Is that is that netasha kinsky? Oh, can I get her autograph? And my sound man just suddenly in a stroke of brilliance said no, no, no, that's not really netasha kinsky That's a netasha kinsky lookalike. This is a lookalike contest And everybody went away the unions went away everybody went away and we were free This happened about 12 15 hours in and we had another 12 15 30 out, you know For a total of 36 hours of shooting where nobody bothered us because we were just a dumb lookalike contest So after that shoot the idea the consensus was this was going to be a You know, this is going to be an amazing film you shot the whole thing on video Which is crazy the idea of thinking of shooting a film twice and it does explain some of the expenses So what happened between the video and the film and like What was it about the video that might have been so attractive? Why why did it work so well? So, uh, tony, I I wasn't involved after that So tony was tony was back in there and he edited this thing together And from what tony told me afterwards that coppola just loved it He thought that he had a total winner. He had a great great story Everybody watched this video and I thought it was a great story. It's still out there somewhere I'm told it's so you can see this this video and I don't know where it is But but it was it was the video was a big success But it's really the question of you know Does the medium really does the the medium really translate to another medium because he shot the film on the sets these huge sets, you know when there were dance numbers and And uh, and 60 million dollars, which is a hell of a lot at the time. That's what that's so cost And it just it didn't it didn't translate up if you know what I mean Once he once he took that really kind of small intimate story about two couples, you know Everybody's sort of struggling in vegas And it doesn't it doesn't work and they go back to their original So it's a beautiful little video and a video story But when you take it to 70 millimeter on these Wild sets and you have dance numbers and all that kind of stuff It just didn't fit the story at all and the movie failed and nearly brought down coppola. I mean it really heard his career I mean he never really was coppola again, you know after that No, not in the sense of it was with the godfather. Yeah, and I think it was basic misunderstanding of of of you know how the medium the media did not translate I remember tony used to say tv is for little screens and Movies are for big screens and don't mix them up and I think that's he was kind of right It's cool because one of the things that's also interesting about that is the the idea that he was Coppola in some ways like you said working with sony and with this experiment like one of the early Thinkers about how you would use video to create a production film like that of that magnitude And the thing about video That's still interesting in terms of the reflection of that film is that film has been Not only pan and everyone remembers who hasn't seen it very few people have seen it But those who do remember it is the film that broke coppola There's a lot of people who kind of revisiting that film in terms of the aesthetics And in terms of like how the film was, you know, beautifully shot and how it looked But do you think I mean not seeing the film how does that translate from the video work that was done to the actual You know 70 millimeter full blown, you know, it's a musical about, you know Two couples who have that kind of night affair and then go back Um, I guess that's an open question because you know, I don't know if that's something that could be answered But it seems like he did all this experimentation with video. Was it just kind of a practical Play like did it is that what, you know cost the film like where does that go? I guess I think I think I think, uh, you know, he was just going to make a film in a big beautiful extravaganza Busby Berkeley kind of film, you know, and uh, we're brought up to the the modern age in 70 millimeter and and and uh I'm trying to think of the guy who we had doing the dance numbers that famous Uh, I can't remember. Anyway, uh, I think the video got in the way I really do I think it I think it threw him off his game Because then you know, he thought well, I could I could work out all the scenes and do everything on video and actually Then I'll have it exactly right So when I'm burning that huge money and shooting 70 millimeter on these big sets and everybody's getting paid millions You know to do this kind of thing I don't know exactly what I want because I'll have done it in high Definition video But the mistake was he went to las vegas and shot this really like on the street film And I think he just really just couldn't translate after that. He was that he was still trying to make that beautiful little little love story Uh in 70 millimeter with dance numbers, you know, they just they just didn't work from one from the other I think that's what happened. Yeah so and you're and you kind of experience with Shooting video at a certain point you kind of you know, you stopped right like you you mentioned that, you know Round that time in the 80s after the Chronicle, maybe you stopped shooting video for a while What's it like, you know to say maybe stop being a professional video up and until the early 80s And then stopping for however long and then coming back to a culture that is very much predicated on that medium that in the 70 1970 was a Almost a novelty now. It's it's it's how to we're communicating right now It's actually the water we all live in that is media And so do you make relationships? I mean, do you think and reflect upon that moment versus now and Anything for us to think about as I'm playing nostalgic with reclaimed video and kind of Revisiting an old aesthetic and form Because you know, obviously it was part of the story, but it seems almost arcane And an afterthought now How do you think about that having been intimately involved in the industry? Well, one of the things that Everything I did was kind of led by the technology, you know, the porta pack came along and I grabbed the porta pack and did my life and then the uh The the professional video the the ikigami hl 35 and it's the greatest story that I think of that I know Is getting that this camera cost 55 thousand dollars when I went to work for uh evening magazine in san francisco This they they I they gave me they made me a unit Yeah, I worked for six months as a sound guy for one of the other guys Then they said, okay, you're good. We're going to give you your own unit We're buying you a camera the camera comes And it's the the catalac of video cameras I mean this thing is comes in this huge box And we we and I came in and everybody was in that day because it was monday when we had the production meeting And the thing came in and we opened up the box and everybody wanted to see this beautiful new camera And there was a little a little brochure, you know a little booklet in the top And we opened it up and it was japanese, of course And it said you will treasure with pleasure your new handy looky 35 handy looky h-a-n-d-e l-o-o-k-e-e Handy looky just spent 55 thousand dollars for this thing and it's a handy looky This was a beast. I mean just keeping this thing going keeping this thing running And remember doing flight ops on the uss enterprise And the thing just failing in the middle of middle of flight ops or out of a deck of an aircraft carrier The thing just fails. There's nothing you can do but go home, you know take the flight home So let's let's talk about that for a second because you you mention it in passing But you're on the uss enterprise shooting video of A flight ops. Yeah flight ops. Yeah. Yeah back in the days when everybody still hated the military because it wasn't that far after the vietnam war This was in about 77 76 and uh, and but the guy who trained me and who I was working for at the time Uh was a former vietnam film cameraman and so he loved the military said the hell with it We're gonna go doing a nice story about the military. So he calls up the military. I said really you're gonna do a nice story about us Nobody does nice stories. Nobody wants to know we exist So we went and did oh did a lot of military stories. It was really fun Fluid c5a up to uh, alaska and all kinds of things Go ahead So just just you know, so it's always been driven by the technology and now you know, here's the technology Right.  It's just a cheap android. You know, this is not no big deal This is an s galaxy s6 It's much better video than I've ever shot in my life, right? It's the better video that I've ever shot in my life And so I'm kind of back to my portapak days, you know, I kind of get in the mood and I kind of go and I videotape my life And I come home and I watch it And and yeah, so I'm back to that and it's fun again. You know, it's really fun So you've been replaying the same technological innovation across smaller and smaller and cheaper cheaper devices But in fact, you know, when you think about the the tool you were using in that and You mass and the tool you have now like the phone and we all have like I don't know if this is the case but Did was it looked upon in the 70s as the portapak cheapening the experience kind of like Everybody having a phone and everyone taking a video kind of you know, a video is no longer this precious object It's something to do to record an event to remember to buy a thing of milk or something like it's a very different experience Then it would be, you know, maybe 40 years ago 50 years ago You know, I for for me, uh, it's it's still about the production values and by that I mean, uh, Everybody at some point everybody got a computer, right? And so suddenly is everybody a writer? I mean, is everybody Saul bellow because now I've got now I've got a word processor You know, so am I a better writer because I've got a word processor and I have better storyteller because I've got better technology so, uh, you know like like one of the things that really really offended me over the years was when, uh, I would watch documentaries and stuff or stuff on the news and it just looked terrible the lighting was terrible It was shaky cam and then then shaky cam became a value You know, now it's more real if the camera's moving around like this and as a guy who You know just loved to get good steady clean shots as a professional I was very very offended by that and when I see stuff that people put on youtube You know, and they don't even know which way to hold the camera. I mean the phone, right? They hold it like this Always they hold it like this like it's the phone, right? They don't hold it like this But that's the that's the aspect ratio of the image when it appears on a screen on your television set on the computer The aspect ratio is like this but people do it like this and there's all this wasted and I just look at that and I go Oh, man, you don't know what you're doing. Nobody knows what they're doing anymore The technology in a way has completely cheapened things and because I went on the professional side You know, that's like my conscious about how cheap it did all is But in terms of the technology on the other hand I was always thrilled that I could grab this little Sony porta pack and run out and make Totally cheap inexpensive video that was like having this phone, you know back in 1969 or 1970 It's interesting too one of the things that It's at the end of the documentary heart of darkness that copula says it and it's a kind of moment where He's talking and it's I think it's in the 80s We's talking about like the advent of video cameras And the fact that what they're going to do is they're going to kind of blow up the profession of You know the movie industry as an industry and we'll turn cinema making into an art the argument being that You know some girl with her father's video camera in the midwest will become the Mozart of film And we'll change the way we look at the medium and that will kind of explode the medium And he was saying this in the 80s, you know well before the kind of youtube explosion And I'm not saying that Mozart has emerged from the youtube culture just yet But I mean is there some truth that as the actual technology changes and as the form changes that Someone shooting with a phone straight up like this, right actually might Invent right re-imagine for the medium for the screens. We're watching a whole new kind of you know Maybe I won't call it medium because it's not but a whole new syntax from the medium We've taken for granted for 40 years. So I mean it's interesting how so much again back to copula again back to video still also relevant about what How because whether it's art or not is an interesting question, but just how we are consuming So much of our culture and our news Like you mentioned early on with the clue and like it's never been more relevant the medium of video To communicate to argue to you know indoctrinate you name it so Yeah, I I but I still think it still goes back to talent and you see, you know, sometimes you see a filmmaker who makes a film on video and it goes to uh Redford's thing in utah. What's that? Sundance most of sundance everybody's just oh my god. This is that you know, this is that major new talent And so it goes out there and it's a little it's an indie film and everybody says oh great And then somebody pays that person and what do they do? They don't make another little india film on their phone.  They shoot a film You know a 35 or 70 millimeter after a couple of tries, maybe they try to hang on to that But ultimately, uh, you want a really really beautiful image. You want beautiful sound You want beautiful editing. You want all that creative stuff that requires just a lot of um, a lot of skill and talent to do and uh, that's what people still I think ultimately still want again Just like the word processor anybody can get on their computer and tap away, right? Yeah, how many great you do you say you say you read a great novel that has come out by Jonathan fransen or said something said that was made possible by the word processor I don't think so great films and great films great storytelling is made not made possible by the technology It's made possible by the talent and the skill Well, it's interesting too. And uh, one of the things that video does I mean kind of think back to Let's say 2001 space, obviously Obviously not a film from video a beautiful masterpiece in film But one of the things that he highlights there is the father calling back from the moon station on a video screen to his daughter And there's those moments in cinema and there's moments in the popular imagination beyond cinema of Video as this doorway as this communication portal Maybe beyond like you're saying and I don't argue with that like the the idea of filming and narrative as an art form But the idea of just video has become a very practical reality that all of us in some ways use to communicate with loved ones to Do our job to video in to actually make a sales call or whatever you're doing like To interview someone who's halfway around the world to talk about video in the 70s Like so video is actually it's almost become Ubiquitous, you know even apart from the the art of it. There's also just Like the the omnipresence of video being us being videotaped Everywhere we go like the whole closed circuit tv video what people do with that So it's almost like that would almost be one the art of it would always be one subsection of an entire universe Of a medium that we kind of depend on and more ways just listing them. It's insane Yeah, no, it's true. We uh, we we you know, we we got the The voice we got voice over distance a hundred years ago And now we have picture over distance And uh, and now we're just totally sanguine about it. I mean I went to uh, I went to a birdie Sanders rally, you know the first rally you had in phoenix, arizona 1100 people showed up and I periscoped it You know out everybody so everybody could see that's amazing thing that was happening And uh, and but but there was no art in that and the storytelling was not mine A little bit, you know, sort of showing the crowd a little bit of setting setting the scene and so on But mostly it was just like look here's bernie And uh, I could bring you bernie because I'm here and you're not And so yeah, there's that but I really ultimately it ultimately I think we are storytelling animals And the fact that we have this ability to do visual storytelling at a distance now It's kind of great, but ultimately as it made us all uh, sort of More in tune with each other and more creative with each other and more Empathetic with each other well look at youtube. I don't think so I hope no one leaves a comment on this video That's awesome. Well john I want to actually really I want to not only Thank you for showing up but also for sharing your stories about Not only the the medium, but also your experience of it and then beyond that like us having A token of your video past at reclaim video with the omnivision which should be arriving any day Which are thrilling it'll arrive by phoenix tomorrow Well, that's so cool. Thank you very much and uh for doing this and and thank you to reclaim Video also for buying my buying my vcr. No, it's awesome.  It's beautiful Yeah, we'll send you our first kind of uh, when it's up and working we'll send you an image and thanks again for having the call with us Thank you jim. All right. Bye. Bye


Okay, let's start. I'm very warm welcome to you all and thank you for coming today. My name is Emma Mezziti and I'm the academic director and director of studies here at the Slaving Language Center and I'm a full-time teacher as well. This is my colleague and fellow teacher, Susan Doyle. And we'll be presenting this EL head talk jointly. So at the Slaving Language Center we offer small-sized classes and a typical range of course programs such as academic year, family and culture course programs. We operate a rolling enrollment system whereby short-term students and long-term students attend classes together and we often have and teach mixed-level classes as well. So A2, B1, B1, B2 together. And while we acknowledge that we have fantastic course books and teaching resources to meet the challenges of teaching students with different needs and abilities, what we'd like to talk to you about today are additional resources we have designed and developed, tried and adapted. And to enrich, this is to enrich our teaching program but also to provide a varied learning experience to our students for departments.  It's what they expect. Can I just ask how many of you teach your students out of the traditional classroom setting? Can you just? Like how? Like how? Okay, so. Yeah, what do you think, I guess, out of the traditional classroom setting? Yeah, so as I imagine quite a number of you and you know, Richard spoke about taking the students out as often as possible to pubs and cafes and programs. Okay, so, I mean, most likely, you know, you've all heard of or probably tried some of the activities we were talking about today. But what I really want to share with you is why and how we have implemented our ideas here and how they've worked for us and for our students. You know, as we all know, students left to their own devices, they tend to hang out together according to their classroom or nationalities. They hopefully talk to their host families in the evening, squeeze in that bit of homework before hitting the pub. You know, but we want to give them opportunities to go beyond that, school, host family, et cetera. And, but we are teachers, you know, and we need to have clear objectives and use those to evaluate our activities. So what are our objectives? We have a few. So first, really, is to take that full advantage of teaching in an English-Swedan country. Irish people are really friendly and they do talk to students. So we give our students structured opportunities to interact with the locals so they can put when they've learned to practice. We like to give them a sense of accomplishment by completing these tasks so they really are quite complex and regardless of their level, all students participate and a low level student then can be part of a winning team. We also like to get them to work together to facilitate peer learning and also foster that culture of independent learning. And sometimes just give them a break from our lovely coursebook and our very nice classrooms and another reason is that it allows us to end the week or the course on a high with a finale, like a debate or perhaps a quiz. So those were our intentions, but what have we done? So we have selected a number of general English and business English activities and simply changed the context in which and the way in which we've taught them. So we would have some activities where students would simply come out of the classroom and come into the common room here or even go outside. They would do this with other participants from one or two other classes or indeed all of the students here at the school. We would ask them to otherwise go on activities which would take place off the school premises completely. So with all these lessons, what we would have in mind though is to mix levels, sorry, mix classes and mix groups ensuring that language levels and nationalities are, you know, totally mixed. So we would have them then work on collaborative activities, projects, such as group presentations, debates, mock interviews, business meetings. We would also have them do an activity called story in the bag or some letter writing. The school use letter writing. They would sometimes script and shoot movies, devise. Soap operas, they would often add rounds to and take part in our spending 100% of quiz. We would also then off the premises do a coffee club. We would take them on a business tour. We would have the odd one-to-one item about in town and we would conduct street lessons as well. So to further promote and ensure that English was spoken at all times, including at break times, we would often post language questions or bring teasers on the board here in common room. And we would see that students ask a lot of questions about these among themselves and also that they ask teachers and we would find that they would engage and would in fact volunteer to then post up their own riddles. So that was a success. Okay, so as you can see, we have quite a number of nice activities that we do outside the classroom, some here and some as Emma said, completely off the premises. But how do we make them work? It does take time and effort and willingness to give it a go. It's a significant process which involves file and error. We choose and plan an activity together with colleagues. We try it out with the students. We take notes on timing, energetics, collect feedback, make adjustments and so on. And we regularly review these activities to make sure that they run as smoothly as possible and that they're still relevant. They're keeping up with the times and technology, etc. So as Emma has mentioned, we carefully root the students but other things that need to be considered are planning, types of preparation, timing, logistics and of course cost. Most of our activities can be run in 90 minutes but other ones require a longer time frame depending on the activities. So for instance, students sometimes need to build towards an activity, say a presentation for example and they need to do it in manageable, bite-sized chunks. They're not just going to get up and do it off the cuff like we did. It is time to process information and to build confidence along the way. So when we want our students to make a group presentation we schedule it for Friday. And we build it into the weekly schedule. So they're in class doing their regular thing but we take them out. So on Monday, we give them structure presentation and vocabulary and we explain what's required for Friday's presentation. On Tuesday, the students in class they deliver a short individual presentation normally on a subject of their own choosing to safe environment and they prepare that for homework on Monday and we have a question and answer session and give them feedback. Then on Wednesday, take them all out again give them time to work in their mixed groups on the presentations and finally on Friday the groups deliver their presentations normally here in front of the whole school. Now every student in the school is involved and this process kind of creates a sense of excitement. Students are working on the posters and the PowerPoint presentations that are asking us to check my part before the presentation and we see them doing this in the real times. And honestly, we're often amazed at the quality of the presentations. On Thursday, they look about what already and then on Friday they're always always ready and they do it, they deliver it and that's really exactly what we want. It's clear to us that a lot of work takes place after school and we're careful with our tasks. We want all of our tasks to cover work on four skills reading, speaking, writing and listening of course and if you can see so here's, I don't know, it's a bit burlary but this is one of our group presentations from our business program so you can see we've designed it to incorporate reading of course brainstorming, writing their parts and presenting their presentation and then in order to interact with listening while they're making their presentations each student has to fill out our Dragonstone-like evaluation sheet so they take notes on each presentation and they have money that they offer to the projects for each business presentation in this case and they offer money, we will give money to this idea because we think it's going to work and the team which gets the most money is the winner. Of course we give our input as well and not only that we want our students to ask questions like our street lessons for example they do require quite a lot of logistics and planning you know, criticism on smoothing so prior to being brought into town students will spend a session or two in class with their teachers on related vocabulary in practice, role play, opportunity to build confidence and then during the street lesson each group has a different itinerary to follow so they have to find their way to a number of places in town and the students take turns asking for directions and then again they take turns completing the different tasks now you have to plan it carefully and be mindful of people working going about their daily business in town you know, you just can't have a group of eight or ten students tripping into spec sabers to ask and how it involves it's really not wrong so outside the group they prepare and write the questions to go in, get the information and relate it to the others who write it down on their sheets when they go back outside now teachers monitor groups from a distance and we've also factored in time that when the groups are finished they have time to share their findings with each other before returning to the school and this activity for us requires two different drop off points for students and two different collection points so as you can imagine with 50 students this takes quite a bit of jigging around to make sure that it works well and all groups finish at the same time but it does work and it's a really popular activity with students a few words of advice more about this activity you know the school or ideally the school needs to obtain permission from agents if you're taking students out of the school premises during class time you need to check that's okay again group leaders and importantly parents if minors are involved print teachers mobile numbers on the students' worksheets so they can make contact if need be if there's a crisis somewhere and finally it is Ireland after all always have a plan B because bad weather could ruin this lesson thank you so that gives you an idea of how we run a couple of our activities so what was the response and what we have observed as teachers is that these activities benefited the students but ourselves as well so on the whole students engaged in these lessons and they engaged with enjoyment they managed to successfully complete the task so they took great pleasure in that and weren't actually surprised it was nice to see higher level students supporting their lower team members and enabling them to fulfill their part students clearly gained fluency and confidence they got to know each other which created a very warm atmosphere at the school they expressed themselves more freely especially when out and about in the one-to-ones or at the coffee club so we got to know them better as teachers how did we benefit well we benefited for the same reasons we enjoyed collaborating and peer teaching it allowed us to share ideas and so of course we were peer teaching but also peer learning peer observing it was all in a relaxed setting so we helped it provides very teaching experiences basically for everyone and it's very enjoyable for all it also helps introduce new teachers to certain of our activities of the way we teach it was nice to see them use these activities develop them and maybe offer new ones we now have we now have minimal preparation because we've worked on these over the years we've prepared laminated kits with materials worksheets so we can draw on them to sort of deal with unexpected teacher absences as well an additional benefit to the school this time is that of course it is so we deal with unexpected absences but it's an affordable way of also offering perhaps extracurricular activities some of these can be used for that so in addition to the advice Susan has given you about the street lessons our advice for today excuse me I forgot to show you all the benefits our advice for today is simply to try it out and to take your students out of the classroom to more often so thank you very much and we know you have questions


Welcome, traders, to another Intraday Waving Artist session with me, Patrick Munley. Redraw your attention to the Euro sterling chart, as always one four hour time frame here. We've had an impulsive move off the lows, the potential primary third-wave lows here at least for 70. So what I'm tracking now is a corrective pattern, a three-way correction, to test into an equality objective versus the current highs, at 86.72, at 85.85. And watching the bullish reversal patterns there to set long positions, targeting an equality objective and potential wave four high up into 88.37. PRZ for this thesis is at 85.31. As always, traders, plan the trade, trade the plan. Most importantly, manage your risk. Until next time, thanks very much.


These 10 ideas will help you have a happier, peaceful, and a relaxed morning. Hi guys, my name is Shachri and welcome to the December video series which will help you have a rocking 2018. If you are new here, thank you so much for stopping by and consider subscribing so that you don't miss out on any of the December video content. I have always been a morning person. Since childhood I've found it very easy to wake up and go about my day. But I do realize that this might not be the case for all of us. And sometimes even for me, mornings can seem dreadful and gloomy, especially when I have a busy and a challenging day ahead. So in this video, I want to share with you 10 ideas which will help you make your morning happier, peaceful, and more relaxed. You obviously don't have to do all of these 10 things. Feel free to pick whatever you like, make it your own, and a part of your morning routine. So let's begin. I have started practicing this recently but stretching right after waking up is a great way to begin your day. We all wake up sleepy and groggy. So instead of just waking up and mindlessly beginning our day, take a few moments to stretch the blood flowing through your body which makes you feel energized and ready for the day. Keep a big jug of water next to your bed and have it as soon as you wake up. This will help you feel more awake and refreshed. What I do is add a dash of amla juice to my water so that I get all the vitamins, minerals and antioxidants as well. One of my favorite things to do in the morning is to journal and I find it very therapeutic to write, clear my head and just to get the rubbish out. But I do realize that it can seem overwhelming to fill in blank pages. So what I've done is created a very simple template which basically follows the principle of gratitude, affirmation and visualization. All it takes is just two minutes and gives you all the benefits of journaling. So I'm very happy to share this format with you and you can find a link for a period of downward of this journal in the description box below. So do check it out and I'm very sure it will help you out, especially if you're new to journaling. I'm a big believer in planning my day so one of the things I like doing in the morning is making a to-do list and in this list I basically list down everything that I need to get done in the day in the order of its importance and this helps me stay more organized and make my day hassle-free. This is something that I have been meaning to include in my morning routine for quite some time now but I just haven't been able to do it. But I really do believe in meditation and its benefits. So if it's possible for you to take out a few minutes to meditate. Another way to have a peaceful and a relaxed start to a morning is to either read a few pages from a book or listen to an audio book. I personally prefer audio books and listen to it either while I'm working out in the morning or while I'm preparing my breakfast. One of the best things that you can include in your morning is to get a workout. Not only will this make you feel more energized and happy but just the fact that you got the workout done and it's out of your way leaves the rest of the day free for whatever else you have to get done. All of us love breakfast, right? So why not cook something healthy and delicious in the morning? This is such a simple way to feel happy in the morning and to make sure that you have enough energy for the first half of your day. Another great way to have a lovely morning is to share your breakfast with your loved ones. It could be your spouse, your partner, your sibling, your parent or even your friends. So keep your phone and other distractions away and enjoy a quiet and a relaxed start to your morning. This is something which I don't get to do very often but I would love to include in my morning routine. Spending time in nature is such a great way to begin your day. So if you have the opportunity then please step out and get in some fresh air and sunlight. So guys these were my 10 tips to have a happier morning in 2018. I really hope that you found them useful. So what are the things that you're going to implement? Comment down below and let me know. I'm really curious to know what's going into your morning routine. If you like this video do give it a thumbs up and subscribe so that you don't miss out on any of the December video content. I'll see you very soon in the next one. Till then take care, have happy mornings and a fabulous year ahead.


Okay good morning and welcome everyone to BC 214 and this is likely to be our last and last lecture for this course in developing the human spirit and we're going to be looking into the last lesson just looking yeah looking at the last lesson of this course imparting spirit to spirit let me just go ahead and share alright last week we covered seven functions of the spirit today we're going to talk about imparting spirit to spirit okay let me just pause and may I request somebody to please pray and then we can start somebody can pray and then we will start please good to one prayer man man all right so thank you thank you so we last week we talked about the seven functions of the human spirit and today we are going to cover the last chapter the last lesson which is imparting spirit to spirit so as we talk about developing the human spirit in this course so far we've talked about things that we do in our journey with God as we as we walk with God and how we can nurture and develop our spirit make ourselves strong spiritually and also be aware of the faculties of the human spirit because it is through the faculties of the spirit that the human spirit that the Holy Spirit speaks to us ministers to us and then we also must be aware of the functions of the spirit that means this is what our human spirit is capable of doing and so we together we in our spirit we rise up to do these things so we talked about the functions of the spirit but what we want to emphasize in this last lesson is that we can also receive from others and we can give to others in the spirit so just like in the natural you know if I have something and I have extra of something I can always give to somebody in the natural so also in the spirit if I if God has given me something I can impart that spiritually to somebody else that means I can pass it on into their spirit and similarly I can receive from others in the spirit and so there is both the imparting and receiving and we must understand how that takes place there is there is a certain criteria or a process involved through which things can be imparted in the spirit or received in the spirit so in second Corinthians chapter 3 verse 3 when Paul writes to the Corinthians he tells them he says you are an episode written by us so you are a letter that we've written so he's just using the picture of writing a letter and he tells the Corinthians you are a letter that we have written and then he explains goes on in verse 3 he says you know but we have not written it on tablets of stone but we've written it in your heart and we've not written it with ink but we've written it by the spirit of the living God so it's a very interesting thing so Paul is recognizing that ministry is really your you are in a sense you're writing upon the hearts of people you're writing something that will remain in them in their spirit but you're not writing with ink and this is not writing by human means but it is by the Holy Spirit and that we are writing it into their hearts and he also says you are an episode written in our hearts in other words it's bidirectional you know the Holy Spirit is helping us right into your heart but even before that God put you in our hearts so you are in our hearts God has placed you in our hearts there's something in our hearts for you compassion a calling a grace given in our hearts for you and so this is it's both ways God has put the Corinthians in Paul's heart and God has given Paul the ability by the Spirit to write into their hearts so he's talking about something in the spiritual realm that that's happening not something you know in the natural so we see that this is possible that we are able to write into the hearts of people by the Holy Spirit we see my other examples that we are listed here in Romans chapter 2 verse 11 the Apostle Paul is telling the Romans you know when I come to you I want to impart to you some spiritual gift so he's telling them when I come and visit you it's not just you know hi how are you how are you doing it's not like a casual friendly visit kind of thing although that may be there in the natural but in the spiritual he's saying I want to impart to you some spiritual gift so there's something he wants to give it give to them but there's a spiritual thing it's a spiritual giving right it could be revelation from God it could be the expression of the gifts of the Spirit so on and you also look at you see in the life of Timothy as Paul has written to him in both the episodes in first Timothy chapter 4 verse 18 and second Timothy chapter 1 verse 6 in both these places Paul is reminding Timothy in verse 24 Timothy says you know I want to remind you about the gifts that the gift that was given to you through the laying on of the hands of the presbytery that means the elders through prophecy so when the elders laid hands on Timothy and prophesied that there was a there was gifts released into Timothy and they writes again in second Timothy 1 6 is a stirrup the gift of God which is in you a stirrup the gift of God which is in you so gifts are given we can see a gifts were given through the laying on of hands through prophecy but it needed to be developed it needed to be stirred up it needed to be activated as opposed to okay I got a gift and it's just automatically working so we we learn something here about impartation that sometimes we can receive impartation but it can be neglected and it needs to be developed it needs to be stirred up we also see on the other hand this whole process of nurturing others spiritually right because in the New Testament we see Paul telling the Corinthians you know first Corinthians 415 he tells them I have begotten you through the gospel that means I've given birth to you he also talks about how he wants to nurture them are you you know first Corinthians 3 he says you're like babies and then you need to be nurtured or to the Galatians he says I want Christ to be formed in you and to Timothy he calls him his own son and the faith and so there is that whole nurturing birthing and nurturing that we see in New Testament scripture and I've just referenced made some few references so this also is a spiritual process right that is spiritually we are developing people we're nurturing people we're giving into their lives that is there is something happening in the spiritual realm so the question is you know whether it's imparting or birthing or nurturing you know what what are some of the things we can say how this happens and and I am also you know sharing this mainly because sometimes you know we read the scriptures like first Timothy 418 and second Timothy 1 6 and we think well it's only about laying hands so you know somebody lays hands on me and that's it I can become a spiritual giant or you know I have all these anointing or I have all these gifts I receive some spiritual impartation well we need to understand it correctly that so it is a mistake here this Romans 1 11 not Romans 2 11 Romans 11 so we just understand this correctly that there is an impartation that takes place that means God can cause spiritual things to come into our lives through other people but how it happens in what measure it happens and how it is nurtured and developed there are some things that affect all of that and that's what we want to pay attention to and be mindful of right so I just put it in these kinds of statements here just to make it clear for our benefit and you know I'll just go through these statements and this is just to summarize what we see in scripture about receiving something spiritually in the spirit so impartation is always aligned to God's call and assignment on your life so you know when we talk about something being given to us right we can receive for example we can receive teaching we can receive knowledge we can receive revelation you know so for example you're attending Bible college and you're listening to so many faculty what's happening spiritually things are being given to you spiritual knowledge is being given to you spiritual revelation is being given to you practical things about ministry is being given to you so those things are being put into your life spiritually that's happening but to receive an impartation of anointing or spiritual gifts that also will happen but that will happen aligned to God's call and assignment on your life so whatever is given to you is going to be aligned to what God's called you to do in life right so I just put an example here suppose God is called somebody to be a teacher I he can't go to somebody who's anointed worship leader and say you know you lay hands on me and I'll receive anointing to be a worship leader or I'll receive the gift to be a worship leader or receive the call or you know to become a worship leader that won't happen why because for you for this person God's called this person to be a teacher this person God's called and gift to that person to be a worship leader so the calling of God and the gift that God is given will determine the kind of anointing and grace that is imparted that one can receive right so keep that in mind in other words impartation anointing is not going to put me into a different calling or put me into a different assignments that's not going to happen because the call and assignment comes from God the impartation is given to help us move further in the call and further in the assignment second statement we can say from scripture is that impartation often takes place in a measure right so yeah there may be times when one person may receive a full measure of what the other person is carrying there may be times where one person may receive a double poor measure of what the other person's carrying but those are you know what we would say exceptions that those are something that God can do it of course but those are not something you're seeing you know happen every day into every other person no usually impartation happens in a measure so example when Moses and the 70 elders the anointing that was on Moses was taken and put up on 70 other people but they didn't end up with 71 prophets like Moses no there was Moses there were 70 elders but the 70 elders received an impartation from Moses but it was in a measure what was the measure for them to do what God had called them to do which was to be leaders over smaller groups of people whether were 50 or 100 and and they received the anointing to do that are they what Moses and Joshua Joshua actually stood in the shoes of Moses that means he took over the leadership from Moses but he didn't have the same kind of anointing as Moses did why because the calling was different Moses had to bring them out of slavery across the wilderness to the land of promise Joshua's calling was go possess the land of promise fight battles conquer cities overthrow enemies calling was different take possess the inheritance Moses lead them through the inheritance so what about these people needed God anointed them and even though there was an impartation from Moses to Joshua what was imparted was aligned to Joshua's calling and you can read that in Deuteronomy the last chapter but it says that Joshua received the spirit of wisdom from Moses so that was what was imparted to Josh we needed wisdom to be the leader and to lead the people to possess the inheritance think about Elijah and John the Baptist the Bible says that John the Baptist came in the spirit and power of Elijah but on the Baptist didn't go about doing miracles it has been on the prophet Elijah did make mighty miracles but the Bible says you know John the Baptist came in the spirit and power of Elijah so he came in what aspect in what dimension to turn the people the hearts of the people to God Elijah on the Mount on Mount Carmel during the hearts of the people to God they cried out the Lord he's got the Lord he's got John the Baptist also in the heart of the people to God but he did in a very different way not through the miracles but through the preaching and through things God had called him to do but the result was the same the hearts the people were turned to God so you see that impartation takes place in a measure how that is expressed is of course aligned to the calling of the person who receives that impartation okay number three whatever you receive through impartation it has to be nurtured and developed right so that's why Paul tells Timothy and I want you to stir up the gift of God don't neglect the gift of God exercise the gift of God you so obviously if Timothy didn't do that what I was given to him spiritually was what was important to him which is be neglected it won't develop and taking building on that same truth he can go beyond what was imparted because what I was given to us is in a seed form so that means you can receive a measure and then as you develop that measure it can go grow grow grow and you can go beyond even what was given to you right so what is imparted to you is not your ceiling it's not your limit it's not the limit that is set on your life but it's just something added to you which if you develop and along with all the other things that God imparts you're going to grow both in measure and realm in the size and in the capacity of the ministry and the calling and number five you can receive impartation from more than one minister of God so this is important because sometimes people think oh I can only receive from one man of God no no God use many people to impart into our life so you can actually receive from more than one minister of God so what determines what I receive through partition well on my side on the person who is receiving its hunger and it's God's calling or God's assignment that means I must be hungry I should say God I want to receive through that other person or what is in the other person I wanted and it should be aligned to the call of God on my life so as long as aligned to God's calling on my life I can pull I cannot hunger for it and I can receive through the other person so that those are two very important factors to keep in mind also we did say that impartation can take place in a moment somebody can lay hands on you and in a moment something can be given to you yes but we also see in the Bible that the normal process is there is association and honor that means you associate with that person so in the Old Testament and the sons of the prophets they served with Elijah the prophet or Joshua served with the Moses Elijah served with Elijah and that you estimate the Apostles served with Jesus Timothy Titus and many others they served with the Apostle Paul so there was association when I say serve it means they they spent time together they they were receiving they were listening they were observing all of that that's association right and the second is there's respect there's honor right so when you honor something it it's positioning yourself to receive it if I don't honor it if I don't honor what's on their lives I don't honor the person I can't receive through that person right so these are two things that we see in scripture that association on now it doesn't mean that we have to put that person in a pedestal right so I'm not saying you know you should make whoever you want to receive you know someone big in your life becomes you know now just having normal respect honor in your heart and praising God for that person and that's that's all we're talking about you know saying you know put that person a pedestal bar but they feed all of those things don't do that that's not needed right number eight impartation can take this remotely through a distance remember in the spirit there is no distance in the spiritual realm so while we are talking about close association sometimes you may associate through it over a distance where you are receiving through their life and through the teaching and through their books or through observing them from a distance that can also happen the reason we say that is when we think about Elijah and John the Baptist this was distance in time as there was no actually there's no physical association they were in different time periods and yet God sovereignly took of the spirit and fathers on Elijah and put it on John the Baptist so there was distance but God did the impartation he caused that impartation so we just kind of keeping that possibility open saying yeah if God could do that then that means there is no limitation in time or distance physical distance therefore there is this possibility of imparting even remotely meaning the person could be somewhere else will be listening to this person that person may never lay hands on you you may never see that person in physical life but you can definitely definitely receive through that person's life whatever God wants to impart to you number nine impartation cannot be purchased with money now why am I saying this because sometimes you may hear some preachers say you know you give an offering to my ministry and you will receive my anointing you receive my grace you'll receive double potion whatever you know remember while it's always good to give to God's kingdom you cannot buy the gift of the anointing or the call of God like you can't buy it God gives it God gives it and one example is in Acts chapter 8 verses 18 to 22 and I think we're all familiar with this when Philip is in the city of Samaria actually after he preaches this man Simon the sorcerer comes to Jesus comes to faith in Jesus then Peter and John come from Jerusalem they come to Samaria and they pray for the believers the new believers and they receive the Holy Spirit and Simon who is actually a believer at that point but he doesn't understand everything it is still learning still you know maybe he still has some issues to deal with he offers Peter money he says Peter I'll give you money and you give me this pop power that on whomever I lay hands they'll receive the same thing that's happening through you he didn't understand what it was he just wanted the power and Peter rebukes him says your money perished with you and I keep your money to yourself you think the gift of God can be purchased with money so he rebukes the point is that you can't buy the gift of God with money number 10 a double portion can only be received from God so when we talk about double portion that means we are saying I want more than what the person has who's laying hands on me or praying for me so example the natural if I have thousand rupees I can only give you thousand rupees I can't give you two thousand because I only have thousand the other thousand you have to get from somewhere else so you think about in the spirit what a double portion that can only come from God God can use human agency to pray for you he can use human agency to represent what you desire or to demonstrate a portion of what you desire but when you want a double portion that has to come from God and so even Elijah told Elijah look you've asked for a very difficult thing if you see me when I'm taken up then you'll get it now he gave the criteria saying you see me when I'm taken up that means you stay focused on this still I'm gone but he didn't say how he's going to get it and if you look at the new testament we say you know John 3 34 John 3 27 and verse 34 a man can receive nothing unless it's given to him from God and it is God who gives the spirit without measure so we look to God and number 11 is what I mentioned earlier in part patient can take place across generations God can take the anointing from one generation pass it on to two or three generations later that can happen that's something that God does sovereignly so that can happen now we just have to be a little careful the days that we don't begin to say things that that is hard to verify you know if somebody comes and starts saying oh I got the anointing of Jeremiah the prophet and I got the anointing of Isaiah the prophet God told me that he has taken the anointing of the prophet Isaiah and put it on me you know that's very hard to verify we know a little bit about Isaiah from the Bible but beyond that you know how can we verify what somebody is saying yeah so I think we should be careful before people start claiming those kinds of things our best is not to do that let God do what he wants and then we just walk in whatever anointing grace and calling that he has placed on our lives right so I had all this not discourage us from receiving anointing and impartation I said this more for that we understand how it actually happens and we're not misled by people so the most important thing is to develop your own spirit understand the importance of your human spirit as we learned in this course and I'm just summary summing up or doing a quick summary understand the basics the basic things that are involved in developing the human spirit and you can look at it in the earlier lessons simply spending time with God meditating in his word praying in the spirit speaking his word worshipping God not those those those basic things maintain those things keep doing those things to keep building up your spirit then keep developing the faculties of your spirit keep getting better and better and better in your exercise of your faculties we talked about that and then also let your spirit function what it's supposed to do you know in all areas let your spirit exercise its functioning in you don't suppress it and then most importantly walk in the spirit that means let the spirit your human spirit under the influence of the Holy Spirit control your soul and body walk in the spirit and of course you impart to others and let God impart into your life through other people but understand how it happens and most importantly stay focused on the call of God on your life okay so any questions on this place before we close any questions on this alright so I would request all of us to just review the notes the lecture notes it's simple it's focusing on just one aspect which is to developing our human spirit how we can become stronger in our spirit just focusing on that so please go ahead and review the notes to conclude this course I'll put out one assignment this week I'm doing some training for our staff some busy these three days but I will be able to put out the assignment only next week and that with that there's one assignment it's just hundred marks it's a full hundred marks it'll be based on the notes the lecture notes so it's open it'll be an open book exam open notes open Bible so we'll just have to complete it to complete the course and it will serve as a revision of everything we've gone through in this course and yeah the most important thing is to take the things we've learned and continue to develop your spirit and keep growing keep stay strong keep growing okay alright so I would just like us to close I just want to request somebody to pray thank you for loving me to do this lecture from the office I'm not in the Bible College because right after this we'll go into training here and so thank you for allowing me to do that could somebody please pray and then we will close this lecture thank you Lord thank you for treating us from your word of God father you have chosen each and every one of us or God how do we commit each and every one of us thank you for giving us the opportunity to learn from your word of God whatever that you want us to learn Lord God father you imparted to us in our spirit Lord God so each of us will be strengthened and encouraged Lord God to flow in that calling that you have called each and every one of us the gifting that you've given each and every one of us the grace that you've given each and every one of us Lord God father help us Lord God to stay tuned to your spirit Lord God help us to spend time in your word of God and grow Lord God in the knowledge of your word Lord you have chosen us Lord God help us Lord God to always be in your presence be in line with what the spirit is calling each and every one of us to live and do oh God father thank you Lord God that you've given pastor Lord God all the knowledge to teachers of father God father help us to listen and obey to your word of God we commit our entire class online e-learning and the physical students everyone into your hands so God speak to us continue to speak to us Lord God lead us in Jesus mighty name the amen amen and thank you everyone and we'll see you all soon thank you bye now