So I introduce you to North Alala, who is an associate
professor here at the faculty.
Not that.
The other faculty of English Studies at the National Open
National University in Spain is one of the leading
scholars in audio visual translation and a pioneer
in didactic audio visual translation.
And although she's very young, she has been publishing for
several years in in didactic audio visual translation.
She has got the book I mentioned before, which has been
celebrated in
audio visual translation in language teaching.
In fact, it received in 2013 of 14.
I think the National Award by the Spanish
Society for Language Teaching.
Since then, she has published extensively in very well
renowned journals in in audio,
visual translation, translation studies and language teaching.
I remember portraying of them, for instance,
English happiness, Especificos and so on and so forth.
Chapters, books, etc..
I want to stop here.
The most important she has let Travelex,
which is the most important research project in the last thing.
But in my view,
and this again is a very personal and subjective point of view,
one of the best things she did was creating
a group of people who are very, very enthusiastic
and we work very well and it is easier said than done.
It is very, very difficult to do that really.
And she's contributing to create, I think, a discipline by
by its own right, which is didactic or the visual translation. So I
deal with things like.
Thank you and well, thank you
for being here in the pre-conference workshops.
I said that before
and I hope I stick to time.
Sometimes for me it's not that easy,
so that especially you have time to practice.
I hope you all brought your laptops with you and some
earphones or something.
And the wi fi code is there in case you need internet,
you will need the internet,
but in case you don't have it in your computers.
So. Well, let's get the party
started, especially
because I always and this I will speak a little bit about that
I don't know if tomorrow, but maybe in the closing
or at some point during the conference,
I see that that translation is a dance
somehow that has put a lot of people together, started like a small dance
for just a few people dancing in their own ways
and has ended up being this flashmob that together next has created
and has brought a flashmob that has brought us here today.
Well, especially tomorrow, where more people will join the flashmob.
Okay.
For the session, for the workshop that
I mean cha cha.
Well, I didn't say this before, but the workshops,
his workshop, mine and Jennifer's are
follow more or less the structure and contents of a book
that Alberto just mentioned that will hopefully be published this year.
So in a few months that is
is expected to provide the basis of didactic
and visual translation in English.
And it's encompassing,
encompassing 35 specific modes of ideas and translation
that have been used in the classroom for for, for didactic purposes,
revising the guidelines so that both teachers, researchers
and students so everybody can have like
a reference there to to create their own dance
with didactic formulation.
So for today and for now, for this hour and 10 minutes
that I have left,
I wanted to speak a little bit about didactic subtitling and the
didactic didactic sorry.
SDH I say a little bit because there is much to say,
and thankfully I left already.
Set up a little on these notes.
So there are things that I will be able to skip
because what I want is for you
to have this basis that we want
to provide in the book as well
with what can we do?
How can we do it so that maybe we can try
Now together, the idea for the third part of the of the workshop
is a hands of practice, both as students and teachers.
So let's see
what and how and let's,
let's basically the point so
I know Alberto already gave
a general definition of didactic what a visual translation and
but specifically subtitling would be applied to.
I mean the definition applied to subtitling would be the use
of the audiovisual inflation mode of subtitling
with a didactic purpose in the language class in an active way.
So making students subtitle as a didactic task, as some isolated
task or as a focus, preferably as a focus of a more complete
lesson plan or sequence as the ones that was showing before.
For this, we need somewhere.
Unfortunately or fortunately, that depends
how you how you look at it, because as Albert was saying,
acts are very important and are very
beneficial in language learning
and learning in general, and they are part of our lives.
So it's very important to incorporate them in in learning and learning.
But sometimes and that's why I that unfortunately,
sometimes software is a problem
because of technical issues, because of lack of
skills in both teachers and students.
And this has like
blocking that has blocked a little bit
the advance of the discipline, of didactic and of translation.
The software problems try not having
something that everybody could use to subtitle.
And in terms of language learning, it's true that we've used GitHub
or actually ever what would, however you want to pronounce it for a while
in in many contexts, and it works for Mac and for Windows.
Subtitle edit is very useful too, and very user friendly
and intraday.
We are.
And we wanted to show you a platform in this workshops.
We will show it to you in the roundtable at least like
you'll you'll have a big
but intellect.
We are finishing up
polishing this platform we've created for
using didactic or the research translation
where you won't need to download any software because you can
subtitle there, you can up there, you can do everything there.
So that's basically what
Kepler provided at some point,
but with a different focus and perspective.
But that's the idea is to avoid that
need, that requirement of software that students need to download
that sometimes computer computers in labs
are blocked and you cannot download specific software.
Well, that all these technical issues that may come up.
And so we're being pro and a convert.
So we're being there
we hope, more like a pro in the years to come.
Then then, then I can't anymore.
Another thing that we need to bear in mind and that's like the
the thing that that is so important, that's why we are here
and we are speaking so well about the didactic reason.
Translating is because of all the language,
the foreign language skills, and has an event,
the use of didactic subtitling and any other mode produces
is not only foreign languages but also transferable skills, but also
awareness of
social and civic issues into intercultural
pragmatics.
I mean, not all types of skills
that are necessary for learning the language
and for learning in general, and that can also promote,
even promote the learning of language even better.
So everything that that comes within the the task as such.
So this is a chart
that summarises. All.
Maybe there will be more in the future, but for now,
the main types of combinations
where that we can apply to didactic subtitling.
A letter was identified before in lingual
and into lingual subtitling.
Of course, in the lingual can have two branches
so direct from one sorry to 12 one or reverse
from L1 to L2 and all of them can be created,
which is, as he was saying,
one of the biggest assets for now.
I mean, at this point that we've seen that it works really,
really well in all senses, not only because it
then has this motivation even more and creativity and more,
but also the skills even more like even listening, writing
any other skill can be enhanced because of that boost to motivate,
motivating motivation and creativity that it's so important
in learning in general and learning the language.
More specifically,
what about those
dotted branches that you have on top?
Well, these types are basically they're to
be used as scaffolding options so that when people are presented
with subtitling for the first time, they can have some aid
and some support.
So you can start with activities in which they just need to fill
in the blanks of subtitles that are already done for them.
So key word captions is like a fill in the blanks exercise.
But in subtitling or you can give them the spotting.
So I studied subtitling, we would call it,
and they skip
the technical part where they need to,
you know, make a little bit
extra effort there and maybe waste a little bit more time.
So at the beginning they, they just have this help that helps them
do the whole thing
better for the follow up, follow the subsequent
text tasks, sorry that they will be involved in
and those other basic types and combinations.
And what about skills enhancement?
Well, everything, as I said before, even more than what you have here
and with which types are which with which combinations.
Well, all the skills can be enhanced in an integrated manner.
And we've seen that with Schedule X because this was not like
this was a lot of, you know, mentioned a lot and tested
here and there with small groups at a small scale
level.
But we were we managed to tested with
more than 500 students in a long term basis
and it does work for integrated skills. At.
I mean, we have statistics
and everything, so it's significant, but it can be generalised
and it does work. We know it now for sure
and well, well, apart from
well the thing is, even if everything can be enhanced
at the same time in an integrated manner, of course
one type or combination can help more one skill or another.
Right.
And this is what this chart is about.
So there is a reception with subtitling.
We work on listening, especially in terms
of audiovisual reception, even if we have reading as well.
And reading can be promoted as well, especially listening
and especially listening more with the types that you are.
You have Mark there lingual and into lingual direct, of course,
because within the lingual reverse they listen in their own
in their mother tongues.
But with creative everything is a okay
so how do how do they promote
this audiovisual reception?
I don't know if you are familiar with the types of listening
described by Rust,
but all of them, all those types of listening
that you're supposed to work with and teach your students to manage
so that they can listen properly to a foreign language
and really develop all the skills are there into subtitling task.
Extensive listening is there because they really need to
listen to the whole
in detail, intensive listening.
They need to listen for specific words and structures,
selective listening.
They need to transfer a specific term and
just,
you know, your mind just selects that part.
And we do these things in our own languages
that we need to learn to do this in the foreign language as well.
And subtitling can can teach that to the to the student
responsive listening. They're responding to a text
by creating a new one, autonomous listening.
Of course,
even if they work in kind of collaboratively
and interactive listening because they are creating,
they are responding, then they are creating,
they are interacting with the computer or with some peers.
So that's for a reception.
So going to every production with subtitling, of course, we
promote not we don't promote speaking that much,
but it can be promoted because you can of course
include tasks in in the lesson plan related to the subtitling task.
And that's what we do
and that's what we will suggest you to do in a second.
In a few minutes.
But writing can be enhanced, especially with
into lingual reverse type, but it can be enhanced with the others
as well with related tasks.
And why do we promote writing In terms of
the latest theories on how to teach writing?
We can speak about digital multi model composing.
This is totally that means composing a multimodal text
while they are subtitling and they are working on
several skills that should be there.
When we promote or teach writing in the in the language classroom
or in the foreign language context.
So they are working in a particular context that the audiovisual context
they have to develop that expertise of subtitles sort of right.
Or they at least the feeling of being professionals
or mimicking professional work.
They of course, need to know the genre, they need to be aware of
the culture.
Technology is always there and identity,
I mean, they create their own identity through their creation of
their product, their own texts, which are
theirs and
nobody else's right.
And of course, mediation, right, are the protagonists of of language
learning nowadays, especially after the latest versions
of the framework
coming into perfect frame of reference languages
into in many in all the terms
specified by the framework, the framework speaks about
strategies to explain a concept of strategies to simplify a concept.
So we have text.
I don't know if you've seen the all the descriptors for mediation,
how they you summarise, you paraphrase,
you know that all those are done within something.
Like.
So they are all included.
So yeah, they are mediated all the time.
What are they. Subtitling.
Oh sorry.
Well the subtitle
and also in all the tasks that surround the subtitling task.
So everything is.
Right.
So just to quickly
as usual.
Okay.
So you can follow.
Right, Let's jump.
It's not the big jump,
but let's move on to Didactic.
SDH Which is.
Similar, but not the same.
It's a different type of task because it includes
the production of subtitling of subtitles.
Sorry,
but also specific types or type of subtitles, subtitles
that do not include only the into lingual or intra
lingual dimension, but also the entire semiotic one because
students need to create definitions or translation of sounds,
a translation
of moods, translation of things that are not related to the text.
So it's more complex as a term as a task, of course,
because it brings everything that subtitling can bring.
Plus the interesting semiotic dimension of translation,
which is so important, and so that it makes the the activity
more comprehensive and more also efficient
and more potentially useful in learning.
And it's more real, more realistic, more authentic. Right?
It's a bit more
difficult to teach or to.
So basically, if you've never subtitle
with a student, you wouldn't do the first thing you wouldn't do.
It would be like didactic.
SDH You would do normal subtitling first.
That is not that
is not that complex once you have the guidelines.
And for them, it's very interesting.
For them, it really works.
It's like, well, Jennifer will speak about Didactic A.D.
It's also one of their favourites.
Like everything related to accessibility and the whole world
that opens in front of them. Like
they knew that SDH existed,
but they really didn't really know
everything that that they entailed.
This type of subtitles and also everything that
that is, is there for people who really need them.
They, they had never really stopped to think about
accessibility in those terms.
So you hear the word, you know, it's important that you don't stop
and think and that that's a whole world that goes beyond
the language classroom and that makes whatever you learn there
more permanent and more real and and, well,
better, you know, senses.
Okay, So types and combinations are going
to be more or less similar to the ones that we just saw.
So we have into lingual, into lingual,
into lingual with the two branches and then
the creative and and all that.
But of course it's into semantic all at all times.
So with that addition of the interesting attic dimension,
so the main types of combinations, but we'll always have the intro
semantic dimension there and estimate skills enhancement.
Of course, everything from the previous start is also there.
Plus all the accessibility awareness element,
which is social aspect, that
that is really, really important for students.
And we've seen that during the years that we've been using. SDH
In language learning and that that it's a big plus
for the activity, right?
Especially also when they do the interest.
Apart from that, when they use interesting music
translation, they need to describe all those elements.
There is a lexical enhancement that goes beyond the the one
they would promote with normal subtitling
and many other elements that are like more intensive in this
in this task than in normal subtitling.
And now I always like this stuff for questions people
don't usually ask, but
but just before we go into step two,
no questions, no comments, nothing online.
No. Okay.
So I take.
Of course, we need guidelines.
We need to provide students with guidelines.
This is always something we need to
like.
Bear in mind when we start, when we work with didactic material,
translation is that we are not creating translators.
We are not teaching to translate. We are not teaching
students to be subtitles
or nothing related to the professional world.
But we are mimicking that of course, and that feeling for them.
It's very interesting and motivating
and that brings like enthusiasm into the classroom.
But for that to be almost real,
or at least as real as possible, we need to give them the guidelines.
What do we do with those guidelines?
We adapt them to the to the language classroom.
What I'm going to show in a minute is going to
is just the simple guidelines that you can use, that you can adapt
in any way to the different levels or to the different contexts.
But there are guidelines that have worked for a while.
So we have guidelines for didactic subtitling guidelines,
guidelines for didactic. SDH And also
a series of assessment rubrics that we
redefined some that we were using them for years as well.
But we have like defined them a little bit more in detail.
But the follow those guidelines so that students can feel that
they will be assessed on the basis of what they are asked for.
And it's not only about foreign language, it's about also the task
that they are doing.
They're doing a task that goes beyond that,
and we are also assessing them on how good
they are applying those guidelines or how well they do it.
And then we see practical samples
following the structure that I'm going to show
before
this.
You will have the presentation in you.
Have you all registered for the Moodle platform we sent you?
I hope so. You have an
okay, we'll
take your email.
Okay.
So well, in that Moodle platform where we are going to practice
in a few minutes, you will also they are not the presentation
time out there now, but they will be tomorrow.
So you can take all these guidelines and everything there.
But the basically what this points
at is at
the basics of subtype
subtitling and SDH From
language learning perspective perspectives
so that they their subtitles or their SDH
creations can be as
similar as possible to what they would seen in a film
or on TV or Netflix or whatever,
but not specifically
to rigid in any ways so that they don't get blocked
or it's a problem for them to follow these guidelines.
So they are kind of open guidelines, but there's there are certain things
that they need to consider
subtitle length, of course, so that they don't create
extremely big lines.
Subtitles The duration that you know,
subtitle for 20 seconds synchrony,
which is basic in subtitling condensation, which is basic also
and helps them a lot in their learning the that condensation
a reduction of the information and to segment the subtitles.
Well so those five things that will also be in the rubric
afterwards are key and they are like defined in a very general way.
They're so that they can adapt those guidelines
to their own way of creating subtitling subtitles. So
we for eg for SDH
we would use the same basic guidelines for subtitling
plus when you have their own character identification.
So everything related to the anti-Semitic part.
Although.
Of the of the task sound effects.
Finally, we stick information and music
and general guidelines in that regard as well.
Of course, always like this note
or a footnote there, like follow the principles of grammar spelling.
It seems silly, but it's important because this subtitling is like
they forget the punctuation exists
and it's something that will help them a lot as well
to develop writing and to develop all for language skills.
So you need to remind them just a reminder there
and the rubric is really small, but I think you can see more or less
that for subtitling we have those five
elements that were involved in the previous slide.
So length and duration, condensation,
strategies, segmentation, synchrony and on top
accuracy for language learning, right?
So accuracy and appropriateness of of your, your subtitles, Right.
And to make it a real rubric.
Well we just described the different
degrees of acceptance of, of the different
items that you have there.
Same for didactic as the H right.
So accuracy and appropriateness there and
and then also land duration and civility.
So a little bit more condensed
so that we have space for you just in the attic
elements as well in the two last
items of the chart.
Right
samples so.
I'm doing well
right.
So these samples are taken from
Cadillac's and
they this, this first one is
the one I'm going to ask you to do as students.
It's just a short clip, which is quite funny.
And the community functions in this case.
The students would get out of this lesson plan would be to suppress
finding attitudes of expressing attitudes.
This is creation of internal lingual keyword captions.
So theoretically you can do it. Fast.
Because it's just filling in the blanks.
I hope you all have subtitling editor in your computer.
Any any substitute editor will do
the aims of the session.
In this case,
all our lesson plans each other which are designed for when our work
60 minutes work more or less and as we've tested them for
with quite a lot of students, we know that it normally goes
I mean it sticks to that to that those 60 minutes.
It depends on the proficiency of the of the students,
sometimes a little bit less, sometimes more.
And they all follow the structure.
This kind of by Alberta form up in this case a reading task.
When you do that as students you just can skip the
the warm up and everything.
I'm just interested them
you try in the subtitling the key word captions like
and it's a Google form.
Well we'll see that in a second So you can just complete the missing
without really thinking about the reading comprehension or anything.
That's not what's important for for today.
But the reading task is related to the content of the video.
And the lexical task in the warm up is a much
an exercise than speaking task so that old skills are there.
So you'll see that in a minute.
The viewing
is supposed to last for 10 minutes, but it can be less for you.
And then the
subtitling that you'll do in 5 minutes or so,
I'm sure, and the post task in this case is a writing task.
So this is like the general structure.
Before we go into the practice, just a few more examples
because that one was intra linguistic work captions.
This one
is entirely in reverse.
So from a Spanish video into into English,
because we worked with Spanish students of English, well,
the s of the session, the communicative function.
Well, it all depends on the
on the position of the lesson plan in the sequence and also
on the type of video that you choose and the type of exercises or tasks
you include in the in the lesson plan.
In this case, since it was reverse in inter lingual reverse,
we included cultural elements to make it look more interesting.
So they have the l one, but they also need
to make an extra effort to to work on culture
and well, the structure is basically the same.
I want I want you will have that if you want
creative lingual subtitling
this really works
that was edited before and I hope you can try it soon
with your students because it it's funny, it's
just the way to forget about the fact that you're learning the language.
You forget about the fact that you're learning the language.
Would use that title just for just
that point. You're ready. Forget.
But with this one, you forget it even more.
And by forgetting it even more and enjoying the task,
everything that you do will stay longer
by your side or in your head or so.
All the words, everything that is part of the exercise.
And this video is funny and
but you are asked
to do whatever you want with the original script.
Another good thing about creative subtitling,
no matter the combination, is
that it doesn't matter if you don't understand the original.
So you can work with subtitling
with people with a1a2
because they will play around with the audiovisual text as a whole.
And if they understand it's a couple of words, it doesn't matter.
They will create a new dialogue.
And based on the images,
just this, that okay.
And well, this was more based on
healthy habits, healthy habits and food.
And the activities were related with that.
And while always speaking,
writing lexical task mediation task.
So everything there
depending on well, if there is subtitling, it's
good to have someone speaking in the lesson plan
so that they also have that skill included.
And a couple of examples of.
SDH And then we start practising.
This one
made quite an impact in Cadillacs.
It's an activity on direct inter lingual,
but with a previous budget version,
remember the dotted lines so that
people don't have to work on this footing
and they just complete the subtitles.
It's it has the, of course, the accessibility awareness element.
But this one the video is based on
while it deals with gender and gender violence
to be more specific and
we run some interviews
and discussion groups at the end of the project.
And this one, this lesson plan was the one that
one of the lesson plans that they remember
the most that for good, for the impact that they
that it made on them, on their emotions,
on the way they saw accessibility and the way they saw gender, etc..
So really including this type of
social
content in
in the lesson plans in the videos because we we choose the video.
So we can do we can include whatever we want that
or we can see that are relevant in the class for language
learning will make their learning of the language
will benefit, that's for sure.
And also there
their learning and skills
and human and civic and social skills.
Right.
So there was some aggressive language.
So the also
one of the aims of the session was that the structure is similar
and if you have the chance,
you have it there, you can access the
you can read the, the, the outline, you can access the video,
you can do the lesson plan
because we have all the lesson plans available for any anyone interested.
Not they are not in the platform yet behind our platform,
but they are in a moodle platform
that is open for guests so you can access all of them
or use them with your students or do
they're free for you to to
adopt them, even somehow create
because you're going to learn today how to do the lesson plan
so you can get that idea and then adapted to
to your own needs or contexts.
And this one on Creative in Trilingual. SDH
uses the the topic of dance,
which I love, as I told you,
and the people who know me know I was a dancers.
I'm a dancer,
so I always like to have art and dance also included.
And I think it's a very important aspect of learning as well.
And we need to include all these cultural aspects.
And this particular lesson plan has a lot of dance in it
and the
comprehension of a dance instead of reading, you know,
to into semiotic comprehension, we could say
creative and lingual.
SDH It's something that had never been done,
and it's kind of and it's kind of strange.
How can you interpret
a sound or a linguistic feature in a different way
from the one that was there? And why?
What for?
But to find Well, we're working on it.
It's an experience
people don't like to change it much.
I, I have to be honest with you.
It's like they want to be
faithful because
they are doing this social action.
The social task of providing accessibility
for this video, because that's that's what they're mimicking.
Right? That's the point.
The point is like,
I'm a settler and I want to make this video access accessible.
So that part of the video where I need to make it
even more accessible,
why should I change it?
We'll keep working on that.
But I think it could be interesting anyway,
and also see why people do like to change that.
They'll want they want to be creative with text and language,
and so linguistically creativity is great, but for accessibility it's
just not so great or not so useful or I don't know, but it's an option.
You have it there and you can try it out
and maybe you can write your, your own paper,
the possibilities or not,
or maybe change it or adapted, or maybe there are some
some new guidelines that we can come up with
to make this more useful. Right.
So as I said, you have our platform,
which is
what's the website Now it has changed that.
The first.
Step is.
Plataforma, virtual dot travels, Cadillacs,
dot es, and you have these two courses.
Try to be one guests and be two guests where you can access.
You don't even need to
create
a username or anything.
You can even enter as a guest.
Or if you want to register, you can register and then it's
even better.
But both Plataforma
Yeah, Plataforma is the one that tried that is.
Yeah, I will.
Yeah, yeah, yeah, yeah, yeah,
yeah. Put it.
Can you. Yeah.
Jennifer is going to add the link to the
for the moodle our model, the one
in which we will make that up.
Yeah. So
yeah, yeah, yeah.
Jennifer is just adding the link.
Jennifer is just adding the link to
that.
Yes. To our platform so that you can have it there.
You don't need to type it now or noted down.
Okay.
And this is how our platform is going to look like.
And it's it looks like for now
it's going to be in English and in Spanish.
Now this this screenshot is only for the Spanish
version.
And here it's starting next up.
Yes, that's. But it's not working just yet.
Maybe in a month.
I hope so. We hope so.
That's where you won't have to download anything
and all the lesson plans from today, like the ones that are in the model
now and the one that I just told you will be there available
to use both by teachers and students,
but I'll speak a little bit more about that in the roundtable
comments before we moving to
the practical part,
the questions on my Facebook,
it has looked.
Questions from yeah.
Well this
sometimes it's
okay so no comments, no questions.
So let's start working.
So we need to enter my lap.
So I did actually go to visual translation. Let
first we will work as students.
So I'm going to enter with you.
Okay, let's see
in this.
Right. So
this is not not my computer, so I can't.
Antonio, can you?
Yeah, I know, but I need the code.
I don't know my
Cadillac's something.
I hope
I'm with you.
All right.
Rest assured, on election
next month.
Yeah, that's it.
Right.
So as we get there, we have workshop two.
Okay.
And the first thing you'll find there is the URL,
the link for the lesson plan I wanted to work on.
So we open it.
Or you need your Google account.
I hope I can remember mine.
For someone
who remembers.
Yeah. Please.
I never.
Remember.
That's why to.
So many passwords.
This thing.
So always the.
But you know.
Again yeah yes.
Scheme this
will need your.
Earphones or your headphones to listen to the
to the video so
the first thing it asks you for
your older more or less.
Yeah.
So you enter your Gmail account so that the lesson plan is saved.
And as I was saying,
I'm not expecting you to do the whole warm up or anything,
so you just can do whatever you like, you type in
whatever you want, just letters
and you complete the multiple choice just without thinking.
Okay?
Because what I'm really interested in is
that you
move into this part of the video viewing
because I want you to watch the video first,
even if it's going to be just a pure caption easy part.
So you watch the video and then you move into the subtitles thing.
So I'm going to leave you at least 10 minutes for that.
If not, if no more.
But I'll go around and see.
So you need to listen to the video
summary, play the video
first for everybody.
Well.
Yeah.
In the meantime,
in case people online are having trouble or whatever,
we are going to watch the video together.
That way I think it's going to be easier.
Yeah.
So it says here, what's the video with subtitles first?
And then, by the way, I'm just going to watch the video.
Okay.
All Hey. Hey.
You like science?
Science.
My five year old niece likes science.
I have a doctorate in quantum mechanics.
Oh, you like theoretical quantum mechanics
Regarding both our perceptions of time
and how we deal with the universal spatial geography and,
yeah.
What's your favourite. Theory? The. But
we were still talking about science.
Me too.
Oh, it's amazing.
Scary as shit, though, right? No, wait. What?
Why? Well, have you read the chapter on practical application?
Of course I read the chapter in practical application, and.
And I am just going to hit little red button here.
Excuse me. I'm sorry. Who are you?
What are you doing with my book?
I need to read this real fast.
Worry. This one doesn't even count.
Sit. Sit here.
95 pages.
Oh, fuck that.
No, I haven't actually read that one.
Too busy doing instead of reading.
Doing like doing actual practical
time travelling.
Have you. You stop that.
I don't know.
Maybe
for me, the crap, you
know,
it's actually
really beautiful.
I really think so. Yeah.
I've Never had a man fight for me before, let alone die for me.
I'm sorry. Die? No, I'm still here.
Yeah, not exactly, But that's the point of the chapter, right?
Time travel's impossible.
It's not impossible. I've done it.
No. Every time you've push that button, you've created
a copy of yourself in a parallel world
that exists one minute in your past, your original body
dies in the genuine or the earlier universe.
Oh, I don't know.
Maybe 16.
How? Oh.
I've never had a
really?
Oh, my God.
Oh, yeah. Oh.
Okay. Okay.
Wake up.
I've killed myself 16 times.
Okay.
So this is a video.
So now you can skip the video viewing,
You can just click, just know whatever next.
And now you start subtitling.
So to subtitle, it says here how to.
Well, you don't need subtitling guidelines or or
subtitles. I mean tutorial.
Don't you just have.
I guess so just download the video.
You have the video except here.
But have it in, in the in my in my lap as well.
But it's here.
You can copy that and then download the videos one minute.
It's not the 2 minutes.
Okay.
It's just one minute extra out of that
and you have the subtitles here.
So you need to download both the video and the subtitles
because the subtitles are contain the blanks
that you would need to to complete.
And now, Yes, 10 minutes.
Or eight.
Will decide. It.