We know that when we look intently into the eyes and the heart of a kid, we can make a difference. It's how much we know about that kid, how much we know about that family, how we embrace them and respect them and own them and share them with others. But always with the peace that says, because you are you, it is my job to figure out how to help you become more of a reader. And person and all those other things. But there's that peace that it's when we get to the heart of it, we can make that difference. And so that's the peace that no matter what's going on. And when we look at the research and we look at some of the other pieces that I really want you to keep thinking about is that and when you're thinking about how do you choose the student in the classroom and you know what are the things that you do that make a difference. Who is it going to be that you're really going to get inside their soul this year because that'll make the difference. And every single person in this room can actually do that. So that's the most important message. Now here's the other piece that if you need to talk to somebody about how this fits in with the BC Ed Plan, this is called personalized learning. When you look into the individual kid, you don't need to have a new computer program. You don't need to have a computer. You don't need to take down the walls of your building. You don't have to do any of those things. What you have to do is get to the kid and make it work for them. That's personalizing. That's the heart of personalizing. And so that's a piece, you know, sometimes we get caught in the political piece and are you doing this and how does it all fit in. So those are the two big things that I thought about the most this morning as everybody was talking. And so you can see I haven't even had a chance to turn one of my slides and Laura, they're just like yours. Nice and developing as we go in terms of the glory that comes with it. So that's the first piece. Now, here's what I want you to be thinking about. And I didn't, I've been thinking about what would the learning intentions be for ages and ages and ages. And Art was looking over my shoulder this morning. You notice that I'm still working on my presentation because I was changing my learning intentions as people were talking. As I thought, okay, I don't think that's what we're really trying to do this afternoon. So I think this is what we're trying to do. Okay, so the first one by the end of this afternoon and it may be by the end of tomorrow afternoon. We want to leave thinking that I can find evidence. I, as the learner, okay, can find evidence of current reading research in my practice. Okay, because when we start looking at the research and what it is that makes a difference in reading. So to Susan Close's phrase would be standing on the shoulders of research when we're looking at the research that others have done well beyond our province and well beyond the jurisdiction of our own classrooms. I can find evidence of what I'm doing in that research. But I can also become curious because that's the inquiry piece that makes a difference with our teaching. I can also become curious about something that's in the research that I might be able to pull and put into my classroom. Now this isn't about finding a program. It's about finding those kids. That's the part first. Finding those kids, finding out what they can do and thinking about what they need to do next and then saying what is it that research and other practice tells us that I can pull from to bring in to meet the needs of the kids. Given who it is that I am and what it is that I know at this point. The second piece is I can consider the impact of my language on my learning community. Many of us read Peter Johnson's book Choice Words a few years ago and he's so eloquent in thinking about the impact of the language that we use and how that changes what's happening in learning. He has a new book out called Opening Minds which just came out in 2012 so I'm trying to sound like I'm really, really current and even more current because it was my first e-book which I got. This is a little side bird walk but I'll help you remember it's the story part. So I get my first e-book. It's called Opening Minds by Peter Johnson. It's again a brilliant take on what we do with the language in the classroom and how it impacts and how kids learn. I order it the day before we leave on our holidays and I manage to do that successfully and it pops up on my desktop and I think I am getting so smart. And then I go away on my holidays. I think that it's important to have it on my desktop just in case I want to read it while I'm away. Well of course I don't actually look for it until I'm home again but I look for it and it's no longer on my desktop. So if you happen to be like me which is I'm sure the minority and you've never ordered an e-book before you have to open it on your desktop and then you have to save it and do something else. It didn't ever really figure out what that was. Otherwise it disappears. So then I had to phone the publisher and say I did actually order this book and it seems to have gone and I can't figure out how to get it back. Do I need to order it again? She said is it your first time? And I was expecting, comma, dear at the end. I said it is. But she said well yes, I'll send it to you again. So anyway, when you do that it's even cheaper than getting a paper book but it's not the same as reading it. In your hands but it's that piece of it's never too late to learn something and you can still highlight on it which is good but your notes don't fall out the same as post-its. But he talks about language and the language that we choose. And that's the second learning intention. And this is an intention that I'm hoping transcends what I'm talking about this afternoon to what you're thinking about the whole two days that we're here and that we continue to take back with you to the classroom about when you talk about kids, when you talk about learning, when you talk about school, our language choice colors the picture that everybody else gets. And it colors the way we think about what it is that we're doing. So that's the second learning intention today is to think about the language that you'll hear me using and some of the language that you'll hear others use and how that impacts on the way you change your view and continue with your view of what's going on in schools. And lastly, I'm hoping that by the end of today and the end of tomorrow you're leaving with a question, something that you're not sure about, something that you're thinking, you know, Laura said, they said do it, go do it. But you know, so that's nice, I like that part a lot. But there's also the piece where you're thinking, well, face it, do it, and I'm not so sure. But I want you to leave with that piece too. So even with the research piece, I've only chosen research that is well substantiated research. And I've chosen some because I think it's provocative and I've chosen some because I think it makes us feel better. It supports the stuff that we're doing. I think that's an important thing. I'm thinking yes, but. And what about and what if so that those pieces are coming in there too. So those are the three things. They are, you know, semi-concrete and semi-specific. And that's, you know, by the end of today, that's what you need to be thinking about. And we are going to start with some research first because I know there's no way I can be doing research according to three. But we're going to try and do that in a way that keeps you talking and thinking and relating it to what's going on in the jurisdiction that you're working with and the kids that you work with. So I'm going to give you a series of quotes and I'm going to ask you to talk about them in some different ways. And with each quote when I give it to you, I would like you to think about sort of these three phrases or words. The first piece is what would happen if if I took this statement, this research statement or this quote that comes up on the screen and I believed it and put it into practice, what would happen? What would look the same? What would look differently? And because you need sort of open instructions each time something like this comes up, I want you to think about it in terms of as you're thinking about what would happen if. How much of this do I actually believe? How much of these pieces do I think, oh, I'm not so sure about that. And what do I think this looks like in practice? Or what might it look like in practice? It's kind of like a big sort of loosey-goosey framework that's going to come around each of the pieces as we're going. Does that make sense? Okay, good job. So, here's the first one. Richard Allington. Richard Allington was here last March with the Special Ed Association. Hands up if you heard him when he was there. So he's been one of those people. You know how you have these different people in your life that influence you in different ways? I love the work that Dick Allington does. My previous hero was Pearson, David Pearson, because I think he synthesizes research and puts it into an accessible way better than almost anybody. And then along comes Dick Allington, and he kind of sashes in, and he does what Pearson does, except he's ruder. A lot ruder. David sort of walks and tries to make sure that everybody is still happy and gets along as they're going, and Allington is just sort of turning off people as he goes, because he doesn't care who he affects for what I guess my who knows why. We can all have our theories on that. But when he was here in March, what he did was he did a repeat presentation. He did a full day's presentation on what he had done as a keynote at the International Reading Association in May of 2011. And he spent a day sort of uncovering what was current and what he thought made a difference. And he started off, well, he didn't start off with his statement, but he should have started off with his statement because everything else was premised on it. We have good evidence that virtually every child who enters an American kindergarten can be reading on grade level by the end of the first grade. And so he'd been talking for a bit before he popped that up, and I thought, okay, now that's a bit presumptuous. You know, because we did have Gordon running around saying grade four, and I thought that was a bit rude. And then along comes Allington, and he says grade one, and I thought, oh, you've got to be kidding.  We know we can make a difference, but let's be reasonable about what's happening. But think about the framework again. What would happen if? And how much of this do you believe? And how much of this do you see in practice? So hold on to that piece. Now, what the Americans are saying is that they're going to have this all accomplished by 2014. Otherwise, schools are going to lose funding because that always makes a difference to moving education forward. So it's good that Linda thinks that we're going to do it by 2017 and not remove funding because, you know, that seems a little bit more humane away and perhaps proactive in moving forward. But so think about that part. Now, a lot of this is based on three different studies that have been done at, you can see the different points in time. In these classes, in the places where these were studied, three major studies that they've looked at, there were common elements in the classes where all kids succeeded. And these were the common elements. So again, be thinking about that in terms of belief and practice and what would happen if. Every successful intervention study used either one-on-one expert tutoring or one-to-three very small group expert reading instruction. Now, notice that there's no definition of the kind of program they're using. They're just saying that there is some kind of intervention, a word which I don't like. I just think this happens to be teaching, but they're looking at one-on-one or one-to-three for kids who need some more time. And that was common to the studies. None of them used a scripted reading program. None of them used a scripted reading program. Now, this also goes back to the grade one studies that were done about six or eight years ago when they looked at the grade one studies and they studied the classrooms where all kids were successful compared to classrooms where some kids struggled and they followed those kids for three years later. None of the classrooms used a scripted reading program. So I'm going to do that one one more time. Any form of scripted reading program for any kids, particularly kids who struggle. If you did have to use a scripted reading program, the group that you'd want to have it is the kids who were already reading because you couldn't hurt them. The scripted reading programs are not there to make a difference. I mean, the publishers say they are and they say they've got research to support them, but the research is done by researchers who are connected to the publishers. They're not done by outside researchers. They're not done by the Sharon saying, let's have a look and see what's going on. They're done by people who've already published the program and then they get themselves to look at it and make a difference. If we're trying to make a difference in reading, scripted reading programs don't make a difference. According to the research. I might be wrong, according to the research. All of the students engaged, kind of a key word, were inactively involved with real reading for at least two-thirds of the lesson. So big chunks of time, real reading, were involved in reading, not reading like activities, for the majority of the lesson. Still making sense? So one more piece and then remember the part where I said you could get to talk. In grade one and two, the lessons were there were 90-minute lessons, a minimum of 90-minute lessons. And of that time, 60 minutes was on reading. And sometimes this reading is interpreted as sort of a reading writing piece because they're so reciprocal, but it's on, again, the real meaning-making task and 30 minutes on skill, which would be related to the reading. So words that were related to the reading, decoding that was related to the reading, but it all came back. It wasn't sort of a separate practice that was being done at the site, but there were still 60 minutes. Now again, notice the time, 60 minutes that was spent on reading. Still working on having their kids be exposed to reading books in their hands, at least six books at school and at least six books after school. So you could read the same book several times. You could read two books several times. You could have six different books, but the bottom message in there, books. One little book is not going to do it. It's a bunch of little books in here. So when they're talking about, and some of them are a bit sort of random, they don't necessarily fit into a fluid context, but that's okay. So this is a piece when we talk, we often hear high success reading described or kids need to have text in their hands that they can read easily and well and the high success reading seems to float around in different definitions. So the current definition is high success is 99% accuracy, reading in phrases, and with 90% comprehension. So remember when we used to say to kids, if you're picking up a book in the library and just look through that book and read a little bit and just count. And when you get to five, that's probably not going to be a good match. Well if you get to five and you haven't finished the book, then maybe that's not a good match, but you only get to get to one in a hundred words before it starts to affect your comprehension. Because if you're working at having your kids become better comprehenders, which would be the whole point of reading, not just sounding good, but actually knowing what you're reading about or being able to find information or being able to read to get a question, then it is about understanding that there's really nothing to talk about in that. It's fluency only counts if it's helping your understanding, being super fluent and not being able to understand what you read means you're not reading. So it is all about understanding and if we want our kids to get better at the understanding, they need big chunks of time practicing in books that they can read, which is 99% accuracy. Throughout the day, remember the intervention word that we're just going to ignore? It's throughout the day for every kid are we engaging them in high success reading opportunities. Now that doesn't mean that you're only going to spend time reading these kinds of books because we have to set you up to do that but we want all of the kids to have that opportunity as the day goes on. So here's another piece. This is from the What Works Clearing House. They looked at 153 reading programs and they said, so let's look, this is doing the really academic piece, the statistical piece on it and said, okay, so what actually makes a difference? Which of these reading programs make a difference? And you can pretty much name any program you choose. And we'll put dibbles in there as an example. But you can put any program in there that you'd like and only one made a statistical difference on improving kids' achievement in reading. And can you guess what the one was? Reading recovery. Reading recovery, the only one. Nothing else showed up. And if they weren't actually on the list of 153, it was because there wasn't enough reliable research to support it even entering the list. Now that's pretty significant because there's an awful lot of glossy stuff out there and there's glossy stuff floating around in our province and living and growing in different spots. And I hear testimonials about this is making a difference. It's always making a difference for the struggling readers. It's never making a difference for the good readers because that's who we give the stuff to. But I'm coming back to the piece of if you want to make a difference in reading, two-thirds of the time needs to be spent in reading. Not on doing stuff. Because the goal is comprehension as we're going through. So reading recovery is the one that makes the difference. Now here's my, this is not what the research says. This is the personal opinion piece on reading recovery. I believe it's because reading recovery is all about teaching. And reading recovery is all about teachers having a mental model of what is reading. And saying I know what I think reading is and I'm going to use that model of reading to help these kids become that kind of reader. I'm not waiting for somebody outside to say this is what reading is, go do this. I'm as the teacher in reading recovery making the decisions based on what I know as a mental model about reading as having a process theory about reading and matching that up with the individual kid who's sitting in front of me. And I'm not going to use words because it's teacher skill. It's teachers as professionals. It's teachers as thoughtful, interactive beings making a difference with each kid. So the work that goes on with Kathy could be slightly different than the work that goes on with Elizabeth could be slightly different than the work that goes on with the next person because it's personalized. But it's all pulled from the same theory of I as a teacher know what counts in reading. Another favorite book of mine and I actually saw somebody had this today and I'm trying to remember who had this book and I've got a little bibliography for you at the end. So this is Catching Readers Before They Fall. And this is one of those books that you wished you'd written. So, oh there it is, how to go Lisa Catching Readers Before They Fall. And what they talk about in here and this is looking at what do we do to support those young readers so they don't become the group that's been left behind. Remember when in primary program we used to say you've got a little bit of time to develop as a primary student? Rather than you have to be at this place by the end of grade one you have to be at this place by the end of grade two that would be the part of the Ellington quote at the beginning. You've got a little bit of time to get here. And let's not worry about intervening with kids in kindergarten and grade one when they haven't even had a chance to be yet. That's supporting peace with everybody as they come through. So what these two authors talk about in their book is that whole premise and I think it ties back to a classroom teacher's version of reading recovery it's about having a reading process system. So if somebody's not coming into reading easily it's because they haven't developed a system. And so that what our job is is to help them develop the system. Not to give them the bits not to go through a series of comprehension strategies not to go through a series of word attack strategies not to go through a series of spelling strategies but to help them develop a system for approaching text. And so that's one of the pieces that I would like to think about as we're going. And then as our job as teachers then is to help kids work and support them in developing that system. So then we're always asking two questions. Really complicated questions. The first one is did that make sense? Then to ask to us this morning when they've been talking about something I think I've already said it once somebody said to me once you sure say that a lot when you're talking that what it's my check-in. Did that make sense? And that's what I'm saying to kids. If I'm reading to them and I'm trying to explain something to them then I'm saying to them did that make sense? Because if I get the look back from them of what are you talking about now? Or was that a question? Was I really supposed to respond? Then it clearly didn't make sense. And so I need to adjust something. And if they're reading to me and it's not sounding quite right then I need to say back to them. Did that make sense? Because that's what I'm hearing when I'm sitting side by side with them and they're reading. And if it's kind of bumping along and there's different stuff going on my first question always is is that making sense to you? Does that make sense? Because if it doesn't then we need to fix it up. But if the child doesn't own that and own that question then that needs to be where I'm starting. If they're waiting, and that's how many of them are when we start is they're waiting because they think that's my job. It's my job to tell them that it did it or it didn't make sense but it's not my job. It's their job. It's my job to help them learn that it's their job to have that question in their head. Did that make sense? And the second question and again it's that side by side piece that's so important. When you're reading and kids stop and self-monitor or sound out a word or self-correct or reread or do the Valley Girl piece with the question at the end of the sentence then the piece that I want to say to them is that I notice that your brain is working on this because you're thinking I need to make a change and you did something differently. How did you figure that out? Because that's when they're getting control over their processes. So the first thing you need to know is did it make sense and the second thing we want to be asking them is how did you figure it out? Because that's the executive control. You see now I need to be doing that with my whole class so I'm modeling it with my whole class about this is what I'm doing it. I need to be doing that with my small groups and I need to be doing that in those same two questions every time I sit side by side with the kid and read with them which is every moment I've got all day long. Not just in that 19 minute period or the two hour period any kind of text that's roaming by our class at any point in time and all those big chunks that we give to kids to get in with books and text to move around then I'm moving around and sitting beside them and saying can we just read this bit? How to choose this book? Why to choose it? Does it make sense? Wow! How do you know? And when you figure something out how are you figuring it out? Because the more they develop that language the more when they sit and buddy read or do something side by side with somebody else or work with a partner then they've got the language to go instead of just correcting for the other kid to say to them how did you figure that out? Because that's where you get the strategies back. So the strategies aren't just about comprehension the strategies are about how we work with the process of reading all day long. What does that piece look like? And so it comes to a really simple piece. Meaning, structure and visual information and in that order I don't think there's a whole bunch of life that's about sequence and I think there's very little in reading that's about sequence but I do think this part is about sequence it is always meaning first meaning is the driver. So when I'm looking at the process of reading when I'm looking at teaching reading with kids whether it's kindergarten or grade four or grade 12 it's meaning first and that's the first big structure that we work with and my question is does that make sense? And my second piece my second process that we're working with is language structures does that sound right? And think about the kids that you work with because this is an important question does that sound right? If the line in the text says he went out and the child reads he go'd out and the child talks he go'd out it is working in a language structure way for him. It's not working in a visual piece yet but it's working in a language structure way because it's making sense Tick, that's the first thing we want to have happen but what the child's doing is making the text sound like the way he thinks the language sounds because that's the way he speaks and so there's a piece in there that's a language structure that again we have to go back and think where do you want to spend most of your time? I'm going to go back to the meaning piece and then the structure piece next and the third piece is the visual information piece and that's when we're looking at what does it look like on the page? So if I go back to the he go'd out you might see to the child you know, it makes sense to me it sounds like you're talking but let's put our fingers on each one of these words and see if it matches with the sounds we know in letters he go'd what do you think go'd's going to start with? some kind of go'd letter so you got some choices in there because it's English but do you see a go'd in this word that's starting with the w? maybe we need to look at that one again but notice that the visual came last I think when I'm moving around and I know we do it because we're trying so hard to see a change with the kids that we're trying to support the most I think that still one of the things that happens is that when kids need more support we start at the bottom first and so we start at the part that I think is the hardest to do because it has no context it's all made up stuff that doesn't fit into any kind of thing that makes sense because they came into the classroom talking and walking and laughing and smiling and being able to live their lives and then if we focus too much on the visual information we're going from the hardest first we need to start on the sense piece and bring the visual into the sense piece it's not that we don't need it but perhaps our order could have some fine tuning to it because the time that the visual makes the most sense is when you know the most about reading when we get to be really good at it then we're really good at those initial sounds and final sounds and can you figure out the vowel that's going in the center we get really good at that part because we already know it but if you don't know those pieces and you don't know that you're supposed to look at the picture of the dog to see that the word in the page says dog then it's way easier to figure out dog but if you start with the dog first without the picture and the sense and we've talked about dogs and built up some background knowledge before we've begun I think we've set it up to be too hard so when we're looking at the structures and the processes we're looking at it going down meaning, structure, visual information and the questions because it's the piece that we need as teachers we need those questions automatically in our heads because otherwise we start saying something that we think afterwards oh I could have said something differently there but it came out already because you know they're always doing 14 things at the same time so it's a bit intense as it's going through you need them automatically there so that it's coming did it make sense how did it sound did it look right rather than having to think our way through it's just an automaticity piece that we want as we're coming remember I said the opening minds Peter Johnson book you know what I'm going to talk to you at 3 o'clock because I know Maureen's going to hook me at 3 so don't let me escape without talking to you but otherwise my hook will be out and I'll be gone what Peter's comment about the language choices that we use and how that creates a picture of who they are as an individual and the picture of the community so and the language that we choose helps create the world so I consider myself as sort of part of a little language police squad I think I first started learning this my first really big learning I remember it was from Judith who said to me one day I did some work eons ago about kids with special needs and I said something about special needs kids and after I finished talking to Judith said to me you know like you do a really good job of watching your language thing but that would be like a really bad thing so what would that be she said you can't say special needs kids you can say kids with special needs but you can't say special needs kids now that was about 20 years ago and she sits on my shoulder but that's a piece that I think that comes in I think that's the kind of thing that Johnson is talking about in his writing as soon as our language talks about it's like all of us trying to figure out how to talk about those kids that we're really worried about as soon as we say I think Sharon said I don't like the word struggling as soon as we say struggling we think oh are you you know it's a piece of like oh like you're suddenly part of the other group rather than the part of the group that's moving forward and so we really need to be conscious about how it is we talk about our kids and we talk about the work they do with them and with others so we think about some of the language things that we talk about the very best language that we say to anybody when they contribute an idea is thank you and I can remember the first time I heard Susan's close say that when we were doing a workshop and this is before 1988 and we were because we hadn't written reaching for higher thought at that point and we were doing something in a workshop and somebody said something that was medium on what I thought we were talking about and Susan looked at them as only Susan could and said in all sincerity thank you and I thought boy did that ever work and when I said you're welcome and we moved forward and again it was one of those things that stuck so I have consciously tried ever since to when you know we're brainstorm whatever we're doing the response is thank you rather than yes you nailed it or boy that's so good and if we teach that then kids do that too thank you for the response rather than an evaluative comment because it's not about judgment it's about participation if you're not engaged you can't be learning being judged and put in a category doesn't move the learning forward we build agency through causal statements because you worked hard I can see that you hit these two criteria that is cause for celebration and that was because you really focused on working those two so that you're putting it back to the student that's where the agency comes from and we're doing that with all of our kids because you did this this happened they need the power they need to be the person who's in control of what's going on the first one is every child gets to read something of his or own choosing every child every day now I think there's always ways to to think about this in the context of what you're doing so let me give you two very quick stories on this choosing something of your own choosing does not in my mind mean random choice because our job as teachers is to help kids learn to make better choices so we're constantly marketing books constantly marketing books so when I'm looking at choosing books and it's a choice time then I might say to kids something like this I've got two books here that you might be interested in first of all I have got this ultra cool alphabet book well you know who it is I'm wanting to read the alphabet book not Susie Smarty Pants but somebody that I think needs to work a little bit on some of the letters of the alphabet and some a little bit of association with sound and symbol and some of those pieces but if I just say there's a great alphabet book here not a soul is going to pick it up because who wants to read an alphabet book when you could read about smelly skunks because smelly skunks you know is going to be a better book so the piece that I need to do because I need to constantly be talking about the books is saying I've got to tell you about this alphabet book it's not like any ordinary alphabet book of course it's got all the letters of the alphabet in it just like you would expect but like check out this giraffe it is not only one giraffe it is the mother giraffe and her baby like that's really cool because all the kids love the babies right but I'm not going to tell you how many of the animals in here have babies because you'd have to choose this book in order to figure it out to see which have babies and which don't have babies and sometimes they show the animals where they're actually living and sometimes they show just the animals but you'd have to read the book in order to figure that out because I'm sorry Nita I know you want me to tell you the answer but I'm not telling you the answer just now you'd have to check out the book now the other book that I thought you might be interested in today is smelly skunks how many people have smelled a skunk you know so then you do a little bit now this is an easier one to market because who doesn't want to read about smelly skunks okay you know if you're in a primary classroom of course you want to read about smelly skunks it's about you see one of the things we know about reading is background knowledge counts okay so we're talking and building background knowledge all the time when's the last time you picked up any text to read any text at all without first of all thinking about what you knew about it already okay we never do that you know you don't walk blindly into chapters and think I think I'll take this book it feels good okay so we need you know our kindergarten kids our grade one kids our grade two kids our grade three kids they need to know how to get beyond but let's choose blindly because that's what they're doing to choose something think about what you know and how it matches that's one of the pieces of choosing okay here's another piece every child reads accurately so you need a chance every day and I think in your random choosing you might actually read something that you weren't at your 99% on and I wouldn't be in a big sweat about it okay but I wouldn't be in a big sweat about it if at some point you didn't get to read that 99% accuracy piece because you need the practice okay but you need to be able to do both you don't just because you're in a level J you just stay in J all day long okay you need to be in J for part of the day and you're doing your accuracy piece but not just that piece you also need to read something that you understand okay remember the two thirds part focusing on the reading and the understanding but there's a piece in the understanding that comes in with the background knowledge that I think we cannot overestimate we don't ever fling texts at kids and it takes a long time to teach kids how to look at books and to look at the pictures and to think about what they know and to think about what they wonder and to do that on a regular basis and to talk to their neighbors about it and did you like it and what did you think about it because that's how we choose books okay no matter what the kind of text is as we're going and we want to teach them to read with questions in mind because that's what understanding looks like okay so we're playing with that all the time and when we sit down for those side-by-side conversations we're saying to them how did you choose that book and is it working how can you tell it's working and what's easy and fun and who are you going to tell about this book and what's a part in here that you want to remember because that's what it those are the processes of reading that we're trying to get them to do okay so it's take anybody's list of comprehension strategies that's our side chat as we're coming mixed in with the chat about meaning structure visual information okay we also have every kid every day write something that's personally meaningful we can't separate out the reading and say this is all about reading and here's writing over here because they work hand in glove okay now writing something meaningful in my mind does not mean this is my vigilante committee part the journal okay welcome back okay let's write today about what you did on your summer holidays and then once we get the summer holidays milked then we do the write a journal every day about something that happened last night or you know blah blah blah blah blah blah blah just this is the aging part I think we don't have enough time to do that personally meaningful means something that's grown in my mind from shared experiences in the classroom that's just as personally meaningful and in fact that starts saying to kids this is all connected this all works together and so we could be writing about something like that almost every day because there's good stuff happening it could be a little right a longer right and we're writing right from the beginning of time so I can't actually remember he's got six and I'm going to come to the last two but I cannot leave without showing some kid work otherwise you'll think what she's doing talking so I want to show you just one little this is really a fast sample from a K1 classroom I stopped by Lisa today and I said I think there were Ks in this classroom last year because I never really I'm not very good at paying attention to the grades and she said I said were there a few she said actually they were almost all Ks I said it was a good thing I checked because I said there were all grade ones so Jerry and Leanne are a resource teacher and a classroom teacher that have been working at Tate together for years and so last year was the first time for full-time K they had K and some ones they've been writing this year four times a week and they write together and they always start off they were really really influenced by that brilliant book by Vancouver Educators what's next for this beginning writer now in its second edition brilliant brilliant so they start together they usually start with a picture they co-construct the picture the kids are helping out it's kind of like a just it's a great rollicking fun time and then they move from their picture and the kids go off and they write and most of you know sometimes they write about the stuff that they've done together and sometimes that's just a springboard and they write this is when they write about the birthday party that they really wanted to write about but if they didn't have a birthday party then they can write about what was going on over here so nobody's ever stuck for something and all the skills teaching is coming in here in this particular circumstance they had just bought a bed of fish and so the fish voila is there it's been purchased the day before and so what they're doing in their shared time is the kids are brainstorming because they'd all like to choose a name so they're brainstorming for names and they're voting on names and then they're choosing the name for the fish and they finally decide that the fish is going to be called Arvana Max a hyphenated name because they've got a tie after many multiple votes repeated votes and then their job today and it's a directed job when you're writing today can you write about the fish because this has been a big thing in the classroom and so let me just give you this is them sitting yacking on the floor getting ready to go so let me just give you four different samples so you can look and see look at this with the eyes of what does the child know what does the child know so first thing he wanted is Zachary wanted lines now Zachary in September could not write his name so this is June the 7th and he writes he likes to eat pellets notice the language he likes to swim around he likes to look at his pellets so and of course they're reading it back and forth they're reading it to each other here's Zara she's really big on punctuation the fish is happy the fish is swimming she points to the words she's reading it to me I am watching the fish now she's got four more words in her language than she actually has on the page because she doesn't bother with all the eyes and that after she gets going because she just does the key word and then she just she reads it around I am watching the fish as she's going because she's kind of pooped out she doesn't want to write anymore okay now Connie because we're talking about kids who are learning as they're coming right check out Connie's Connie arrived two weeks ago without a word of English and Connie comes up and she's reading to me I'm sitting on my little chair and she's reading to me I have no idea what she's saying and she says something to me with each one of these words she points to the words and then she draws a letter the first letter in the air that she's been doing and I'm just saying yeah yeah absolutely you are really using what you know about language I know she has no idea what I'm saying but I'm trying to get back with the right kind of body language and she beams and back she goes but I'm looking at it and I'm thinking so what do we know about Connie she knows about words she knows about sounds she knows that sound symbol and that first letter is important because we've been fussing about it when we're doing on the board she knows about spaces between words she's got all that stuff done and she hasn't a clue what's going on in the language in the classroom she is going to be just fine you don't leave her with her kids brothers and sisters at the mall and she'll be even better okay and this one I know you won't be able to read but let me read part of it to you so this is one of the kids in grade one the fish can do lots of things like exploring her tank and when she opens her mouth that means she's going to swim and the kids will be bigger and then they'll get born babies too and that's the life cycle ta-da and then there are a couple more sentences but I figured you should have stopped when she was on a roll with the life cycle okay every child talks every day to their peers about reading and writing every day to their peers about reading and writing and we'll see if this is going to work I know you won't see all I want you to see in here is notice where I am as a teacher because these kids are talking to each other about their reading and writing but it's new to them they don't really know what to do so I have to be there in their face pointing showing and watch what's happens with these girls this was a K to 3 classroom so they talk a little bit these are the 3s they're quite superior and then the one does the sharing and then these are okay because the piece you know and I thought oh this is a perfect one because it's the piece that you can't you can't just talk about it you can't just talk about it in big groups you have to be right there in the moment with them let me show you what it looks like when we talk to each other okay and so that does mean being down there right in there and I may only get 2 each time as I'm going but the more we do that together the more they learn that piece every child listens to an adult read fluently every day in different kinds of text with some commentary so it doesn't mean we're dissecting every book as it comes through every piece of text but we're reading we're reading constantly constantly and we're talking about our thinking about reading oh Maureen I have to do just one more slide before we go and then you can be done and you can have it next slide this summer and so I would just like you to talk I'm going to sort of show you this one as something about how I would talk about the reading piece because reading is all about thinking right so you're always showing them this is what reading looks like so don't worry about the stuff that you can hardly see at the bottom just worry about the top so just one week ago today I just as you can see you've reached your destination what about your target and when I looked at this what did I see relaxation sun beach chairs and I thought whoa so of course then I immediately turn and I read that part because that's what reading looks like like that to me is reading fluently does that sound like reading fluently to you it's just I don't have to because that makes sense now here's the piece that you can't really see on the bottom I've retyped it on the top it says yearly you could probably read it fluently yourself in your head okay 17 million 655,000 265 passengers in Brussels airport 93% of them are visiting the toilets and this is the sign on the inside of the door of the stall in the bathroom in Brussels toilet I thought whoa I can use this at a workshop how good is this now but you see that's a piece I want us to it's that expanded view right it's not just about picking up the book and reading the book fluently it's picking up all kinds of different text and saying to kids here's how I read it here's what goes on in my head what's going on in your head I just kept thinking that is a lot of people in the airport and then on the very bottom I took me forever to find it oh face to face oh so it's about advertisements you could be advertising in here and I checked out several other stalls they all had the same thing so nobody had actually figured out the action part after reading you're supposed to read and respond I think I could put my own advertisement up there that's the fluency part because fluency isn't just about getting the pattern in the words like that it's getting the pattern and the rhythm of the words so what changes your thinking okay every child every day all six of those guys


My name is Sam Bagnin and I am the author of Malignant Self-Lover, Narcissism Revisited. Alison Paulson runs a blog titled, So What It Really Meant. We all have inner voices, sentences, self-imposed rules and unshakable convictions regarding who we are, what we can and cannot achieve and where we are going. Alison demonstrates that most of these self-limiting and self-defeating sentences are wrong. I wrote the following entry for her blog as a guest author. I chose to concentrate on and analyze the all too common dictum I cannot live without him or her. And so I wrote, Dependence on other people is a kind of addiction and therefore fulfills important mental health functions. First, such an addiction is an organizing principle. It serves to explain behaviors and events within a coherent narrative, a fictional story, or a frame of reference. So, people would say, I acted this way because. Second, this dependence or addiction gives meaning to life. Third, the constant ups and downs satisfy your need for excitement and thrills.  So, while you can surely survive without your intimate partner, you believe, erroneously, that you cannot go on living without your addiction to him or her. You experience your dependence as a warm and familiar comfort zone. You are addicted to and dependent on your dependence, not on your partner. But you attribute the source of this dependence, the source of this addiction to boyfriends, mates, spouses, children, parents, anyone who happens to fit the bill and the plot of your narrative. But the truth is that they come and go. Your addiction remains intact. They are interchangeable. Your dependence is immutable. So, what can you do about it? Extreme cases of co-dependence, known as dependent or borderline personality disorders, require professional help. Luckily, most people with dependent traits and behaviors are clustered somewhere in the middle of a spectrum of dependence. Here are a few simple rules. First of all, help yourself by realizing that the world never comes to an end when relationships do. It is your dependence which reacts with desperation, not you. Number two. Next, analyze your addiction. What are the stories and narratives that underlie it? Do you tend to idealize your intimate partner? If so, can you see him or her in a more realistic light, warts and all? Are you anxious about being abandoned? Why? Have you been traumatically abandoned in the past as a child perhaps? Number three.  The relationship is over and he or she leaves you, for good. Is your physical survival a stake? Of course not. Number four. Make a list of all the consequences of the breakup. And write next to each consequence, next to each result and outcome, what you can and intend to do about it. Armed with this plan of action, you are bound to feel safer and more confident. Finally, make sure to share your thoughts, fears and emotions with friends and family. Social support is indispensable. One good friend is worth a hundred therapy sessions. Good luck.


Hi, my name is Owen Callahan. I'm coming to you from Freeman Ranch outside of San Marcos, Texas. I'm here scouting up locations for my structural geology class. The students will be out here measuring fault surfaces and striations on the fault surfaces to understand how rocks have moved past one another and understand some of the kinematics of the fault zones. I'm personally interested in fluid flow in faults and fractures. I'm interested in the interaction between how the orientations of faults influences the location of fluid flow and how fluids and resultant alteration and mineralization change the mechanical properties of faults and fractures. This has relevance for mineral deposits, but also for hydrothermal systems and geothermal energy, which is really where my big passion lies. So, thanks!


Hello, this is Laptop Media, and today, we will show you how to open the 17-inch Acer Nitro 5 and what's inside of it. To take this notebook apart, you need to undo a total of 12 Philips head screws. Then, pry the bottom panel with a plastic tool, starting from the front corners. Please remember, it would be of great help to us if you just hit the like button and subscribe to our channel. That would motivate us to make even more and better videos for you. Here, we see a 90 watt hours battery pack. It lasts for 8 hours of web browsing, or more than 7 hours of video playback. To take it out, unplug the battery connector, and remove the two Philips head screws that hold it in place. Memory-wise, you get two Sodium slots for up to 32GB of DDR4 memory in dual-channel mode. Interestingly, the storage options include 2 M.2 PCIe X4 slots, both of which work with Gen4 SSDs, and support RAID mode. The cooling comprises two heat pipes shared between the CPU and the GPU, one more for each of them, and a fifth one meant for the graphics card. In addition, you get four heat sinks, two fans, and a couple of heat spreaders for the VRMs and the graphics memory. If you'd like to see more disassembly videos of the latest notebooks we would highly appreciate if you hit the like button and subscribe to the channel.


Today we're going to be creating a marble game in which you will have to wall to your objective. So as always starting with an empty project and one texture which is the texture that we're going to use for the wall. But let's start with that. Once we create the 3D scene we can start adding all the nodes that we want. For the level I'm going to be using the nodes which are here in visual instance, geometry instance, csg shape and primitives. These are all shapes that you can use in your project to make 3D things as a mock-up for your levels. It's not meant to be used for the final thing but for making small game jump stuff should be enough. The nice thing about this is that you can combine them and you can use them to create other complicated shapes just in case that you need some extra flexibility without opening an external 3D program or anything like that. So let's go with a box. Box is what we're going to use for the tables where the ball sits and everything. So let's create one. As you can see here you have just the block nothing really complicated and on these points that you see here one on the top one on the left one on the right you can drag and drop it and you modify it how the shape looks. So if you do it like this it goes wider then thinner then longer. So you can start using these elements to create your level. One cool thing about the data is that you can move freely by pressing the right click on the 3D scene and using the WASD keys. So it's like an FPS game where you can move and the camera moves with you and if you feel like this is very slow you can also use the scroll wheel and your movement is gonna be so much faster in this 3D space. So this is really useful whenever you're like previewing or doing some level editors that you can navigate freely around your scene. Now that we have this plane let's create our character in this case the marble that will fall down until it reaches the objective. So since we want the marble to have some physics and everything we're going to use another kind of node which is here in spatial collision object physics object rigid body. This will be our marble and when you create it it's empty there's nothing in it because the information of what collides and everything you have to add it afterwards. Let's hide this box for a minute and as we had it on previous episodes if you've been following or doing any 2D tutorials like 3D Ingo.Works really similar to that so in the same way that whenever you add a kinematic body you need to add a collision shape and a sprite here you have to do the same you have to add a collision shape and a sprite in this case since they are not sprites although you can use one you do a 3D model. So in this point that we have here let's let's add a child node which will be the collision in this case collision shape we created and on this shape we should we choose shape new sphere shape this will give us a sphere which will be the collision of this object you can make it bigger or smaller the same way as the other node like so but we want to do the default size we're not modifying anything right now and now we want a representation because if we play the game like nothing is really there so we need to add a sphere going to the same nodes we can search them easier by typing here csg sphere and we have a sphere here it's very blocky it's not really appealing but you can modify its properties here so if we want to add more radial segments and more rings the ball will get smoother and smoother you can go nuts with this one to make it really smooth or not another alternative if you don't want to use these kind of boxes is i'm going to remove this one and instead of doing the csg box let's add a mesh so here we can search for mesh and here in mesh instance we do almost the same as with the collision shape we select here a sphere and we get our sphere here it's much smoother i think it has better defaults so i'm gonna stick with this one for now let's make sure that we don't modify anything let's press this button and we close it so we have our player here now let's display again table that we have before and move the ball on top so that when we play the game the ball will fall on that there's one thing we have to do i wanted to fail first so you see why now let's add the camera camera this is how the player will see your scene when are you press play and you can move it like any other object here using those arrows or the circles around any of those 3d objects makes makes it rotate so you can rotate the camera you see that square is where you are looking at and if you're confused about what the camera is actually looking at you can use here on the editor pressing on preview and you can see what the camera will see this button will show up whenever you have that node selected so if i don't have that node selected you don't see it but make sure that you can select it press preview and you see it so let's move this into a place there and let's press preview this looks okay let's spray play now and let's see what happens without a game of course we save it as main and play so the ball falls and that was the order i was talking about because although we added collisions to this rigid body we didn't add any collision to the box and since you are going to be creating complicated things with this one there is an alternative way instead of having a collision shape you can here press use collision on this inspector option and it will collide with everything they have on this layer in this case both are on the same layer if you see here layer one okay so you should collide no problem okay we see the ball it falls there let's create some elements to make it look a little bit closer to what the game will be just to try things out and continue with the visual aspect later so let's move the camera a little bit behind okay this first i'm gonna make it a little bit steeper so the ball whenever it starts it goes and i'm gonna make it longer so we can move it much more then okay let me move it here now whenever this goes there i'm gonna duplicate this one control t and i'm going to create another one and let's make it so that this one is let's see on the opposite side like so so the ball will fall over there it will look like this and so let's try it out we see the ball falling which is the other side it goes all the way up and then it falls down okay so let's now create the level let's make it so that you first start falling on this one then you have this one to bounce and okay i'm gonna select everything here i can do it like so i should select everything i can move it on top so i'm not under the grid okay and i'm gonna duplicate this one and move it to the other side so we can reach the end okay kind of like this so the ball will go here all the way there and you have to move there and at the end we're gonna have this ashtray kind of thing where you can finally leave your marble there and that means that you win maybe let's make this a little bit smoother okay so it's not that too if you know what i mean okay so let's start creating complicated shapes with these boxes i'm gonna create one which is going to be the same a box we'll have it at zero let's go there let me get a bit bigger and now since i want to add a hole on it i'm gonna create inside of this one a sphere csg sphere this sphere now it's inside of the other one like they are basically the same kind of material and everything like it looks like it emerges but here on the node options there are different operations union which make them together intersect and subtract subtract will do a hole in this other shape so for instance now we see that the ball is carving a hole inside of that other structure so in this case we wanted to be a little bit maybe bigger yeah move it a little bit on top and make the box a little bit taller and let's put this here so it's not okay and then clicking outside okay so here we have a hole on this square let's move it a little bit on top so we don't see the grid okay and here we have it this structure for now it's gonna be where the ball is gonna fall you can use these kind of combinations to do anything and if you want the opposite right now we're using the operation subtraction but if you want the opposite you can use intersection so it will only draw whatever is intersecting between those two if you work with vector graphics this will be very intuitive for you and if not just try it out combine some shapes add subtract and you will understand it pretty quickly okay so we have here our goal our end goal and let's place it where we want it which is there at the end so I'm gonna select it and move it there see okay okay we'll have it there it's gonna be kind of easy to get but it's okay for a test level we have now the basics of our level and let's start adding some of the interactions because if I press play you're gonna notice that the camera is not moving you're gonna do anything with the ball so it will just fall and nothing will happen so let's start setting up the camera in a proper angle that we want if you want to preview the camera and move it at the same time if you press here on view you can split the viewport in two and now that we have two I can use this one for previewing the camera and this one for editing the game so in this case let's move this a little bit top and this is the angle that I want maybe a little bit further okay something like this seems okay and we can remove this view now okay I'm gonna go ahead and create a script for our camera which we'll call camera.gd we will want to update the position of the camera to be following the ball so let's first get the distance from the camera to the ball and then update that same distance all the time so we're gonna hit the offset and we also want to have a reference to our ball so on ready bar ball with capital letters it's gonna be get parent and get node rigid body so this line of code here is gonna be accessing and saving this reference so we can use later on ready let's set the offset for the first time so the offset is going to be the translation translation is when you click on any of these objects here in transform the translation is the position so if you move it you see that those number numbers are gonna move so that's what we want to get that's the same as position in 2D so we want to get this which is a vector 3 and let's subtract the ball translation okay so now we know that the offset that we have to respect on every step now on Fang physics process translation is equal to ball translation plus offset so in this way every step is gonna check the position is gonna set the offset that we calculated at the beginning like the distance that there is between those two and it's gonna move the camera at the same time let's try it out and the camera is following our ball and it falls okay so now we have to start adding the code to our ball so we can move it a little bit to the sides so let's attach a script it's gonna call it ball and the Ciclera variable that is called movement speed and set it to 0.05 something really small and then we can modify it if we want to and in the Fang process let's start with the user input if input is action pressed i'm gonna use the default ones which are the arrow keys and every empty color break you have this but you can modify and create your own so let's start with ui left pass so i don't get the error and let's copy this and ui right for the other one okay and now we can apply central impulse central impulse will make that this node suddenly has from the center like some impulse that makes it both magically you're not rotating anything you're just adding like some invisible force but since the ball is gonna be rotating we're gonna see it rotate wherever we want it apply central impulse let's create a vector 3 in this case x is going to be movement speed the variable that we created and the rest is gonna stay as zero and same is going to happen in the other step instead of adding positive movement speed we're gonna subtract the movement speed let's try it out and see how it feels if we can move can present left right okay i made i made this on the other opposite side okay so this one has to be the negative and it has to be the positive my bad let's see okay yes i can move the ball now i can stop and here it goes and i think i forgot to add a collision there yes i forgot okay let's add use collision and i think that you can clear the level now so let's try it out again okay and it goes there okay success we have our first level working let's now make this look a little bit better let's add some extras first of all if we add a texture to our ball we're gonna see it rotating better so let's start creating a material for that we get a close up here we select a rigid body and remember that the mesh instance is what we are actually seeing and here on material we don't have anything let's add a new spatial material you see this new resource appears and when you click it you get all the options here you have a preview and the one thing that we're going to be using on this tutorial for now is the albedo which is the color or a texture in this case if you modify the color you will see that the ball changes the color to whatever you pick but in this case we can leave it on white and add this texture that we have here it can be whatever you like i like this one for this marble because it looks kind of okay and when you add it you see that we have here our texture applied on the ball now when we play the game you see it actually rotating it's now more clear because before it was white you couldn't tell the difference now i want also to have that glossy effect so let's modify this and add roughness let's move it lower lower lower lower so you see that it's kind of glowing the roughness basically means how a material is so if it's really smooth it reflects you will see here that it has kind of this glossy so it looks kind of nice another thing that i see in a lot of these tutorials is that you see those sharp edges that you have around the objects and especially when you're playing the game like you can see them those lines i don't really like them so i'm gonna go here on the project settings and on the rendering quality you can add the msaa which if you played any game you know what this is you set it to 4x for instance and every of those edges is going to be super sharp if you see here now you can see it even in the editor this makes it look so much better and since we don't really know exactly where we are and if we start creating complicated levels we need to have a better reference let's add some lighting so let's add a node and in spatial visual instance light directional light so you have these three kinds of lights they have very good description at the bottom so this is basically a sun this is basically a light that you have in a point which is like a circle and this is a spotlight which points to something if you want to have it just like a spotlight but we want just to have a sun and whenever you create it you can see the difference between those i don't know if i can toggle yeah if you toggle you see that everything gets eliminated and this fake sun that you add you can set the direction by the rotation of it so if we want to have the sun having from one side pointed from one side you see this white arrow over there you can rotate it and you see how it moves let's do it at an angle and also a little bit looking down okay kind of like that i think that this position doesn't matter the only one that matters is the position of the arrow because the light is going to be global it's going to be affecting everything another thing that we would like to add is in this directional light you can enable shadows so you press here on the shadow whenever you have this node selected you enable it and you see here that you the elements cast shadows to the other ones and this makes it look really good let's make the sun go from the top so okay so we can see the marble light let's see how the game looks like right now okay starting to look much better okay yeah you can also do the same to these platforms that we created here if you select one you can create different materials for them so let's go ahead and create a new spatial material and only change the color with i'll be let's make it something like light green something like this and if you want to reuse some material to different objects i recommend you to save the resource so i will save it as green material and you even get this preview here which is really cute i like it that whenever you have a lot of those you can set it and let's select the other ones so this one and here in material i can drag and drop so you set the material and here you set it and on this one we're gonna leave it at white because i feel it's a better end goal okay this is starting to look like a game i really like it another thing that you can change is the sky this is the default sky and if you don't know exactly where to modify it you have to do it on this resource that you have right here which is the default amp default environment you can make an image like an fps you know do you have those images of the sky like a skybox uh things like that or you can create a procedural sky which is the one that is created here on this default resource by setting the sky ground sun texture whatever since this is really colorful let's add some some nice colors let's see some pink on the sky always looks nice the horizon let's see i don't know maybe some green to make it more cool futuristic kind of surreal and oops and for the bottom color let's go with that dark purple purple let's see okay and horizon color let's go with something like a red okay so let's make it a bit more darker okay let's play the game let's see how it looks like i want to i want to feel how it looks here okay much better okay here we move it the level is super easy for now but yeah okay now that we have a cool sky a cool level i'm gonna cover the last thing that you might need in a small game which is checking whether an object is inside another one if you follow the other tutorials in my channel you already know how to do this and if you've been seeing how easy everything here is it's because it's really super simple to create things since 3d and got out it's basically the same as you do it in 2d but you add an extra dimension which is the sea but the rest is pretty much the same in this case we're going to be using an area and checking if something is inside that area or not the same as in the box tutorials so we want to check on this node so let's create a new child node it's going to be collision object area we have it here and as any other area you need a collision shape so let's add a collision shape inside of it and this collision shape is going to be a box shape this rectangle that you see there this box is how big it is so the same as before we use those sliders to make it bigger and let's make it a bit taller okay and it has some signals so the area has the body entered and let's create now a master script for our game as we always do and let's link that whenever in this let's rename this to end this area when a body entered let's connect it to the game let's add our rigid body our player there our ball let's add it to a group so here in groups so we don't have to check for that instance and you can create as many marbles as you want there's a very popular twitch game which consists in a lot of marbles going through a level which you can create a clone of that with all this knowledge like you don't really need that much for the physics stuff if you want to do multiplayer that's another story okay so now that we connected this on the game we check for if body is in group ball don't remember if it was capitals or not yes it was capital letters okay print you won so you can replace this with a dialogue with a menu going to the next level with whatever you like since i've covered that several times on my channel i'm not gonna create the entire thing uh so let's try it now that on the terminal there at the bottom it says you won let's see speed running this already okay here you won you see there the message whenever we reach that area i don't like that it's doing that thing with the camera that it it's overlapping so let's modify this one maybe the last thing that you would like to know is that if you want to add some text elements or something control nodes related you can create a canvas layer which is going to make a new screen and inside that canvas layer you can add control nodes and here you can do the same as you did in any other tutorial here let's create a label which says hello from a control node and if you see here the the size of the screen on your canvas layer it will show up on top of your 3d game there we have it at the top so if you want to add a thank you congratulations for finishing my level and trying this game whatever you can do it there okay so that covers all the basics now to try and make this level a little bit more interesting gonna do like a timelapse of me editing this level and see how we can use these kind of basic shapes to create some interesting levels okay so i've been playing with the editor a little bit i created this level which basically makes the ball go at the beginning you have to move on the side this basically is like a tutorial for the games if you don't press anything you will lose but if you start moving you will notice that you can move that way you see that the speed goes there and goes very fast and then when you get to this curve which is actually a bit slower than i wanted then you get to this part which you have to use these columns to make the ball go slower because otherwise you will go super fast and you will miss your target so this is something really busy you have to do but i notice a few extras that i want to cover here first of all the camera is not rendering all the distance so if you see here on the preview we cannot see the end of the level and since we don't have a lot of things on the screen let's make here on the far let's make it longer okay so now this will show how much you see on the camera in this case we want to show all the level another thing is that i want to give the move the movement a little bit more impact so i'm going to rotate the camera a little bit so that makes you feel like your ball is rotating so let's go to the rigid body and here let's get the reference as we did before with the camera to get this let's get the camera from this one so cam is going to be get parent get node camera so we should over the bar sorry okay so okay we should get the camera over there and let's rotate it we want to rotate it in the y angle so camera rotate y and this has to be super super small i don't want it to be super strong so let's go with zero zero one and the same on the other side but as always to the opposite direction let's see if it's like this or not i'm confused now okay okay yeah this adds more dynamism to the ball moving okay now you can feel that you're rotating the camera oh maybe it's even a bit too much let's make it rotate a little bit less let's go with zero five okay yeah this is more closer to what i feel that i'm pressing on the screen okay let's follow okay now that we're fighting that you can go to your ball and maybe you want to make it go faster let's see the gravity scale here is one let's go i don't know let's try with three because this will make it the ball much faster so it's gonna be harder you see but it's i think it's more realistic than the other one the other one was super slow yeah now this is a challenge let's see how it reacts when i collide okay oof almost fall okay yeah this one is much harder so you can tune these values here the gravity the weight of the object and anything and as before you can keep creating some levels and hope that this is useful for you to create any game on a game jam you can use these same principles to make a puzzle game or or even the the same game that we did before with the box you can with the box pushing you can do it here in 3d um and as you can see it's really really simple like Godot makes it really simple for you to to create 3d games in no time so this is for today and it was a lot to cover i hope i was able to make it as short as possible because i don't want to make things too complicated but i hope you enjoy it and i really want to thank my patreons and all your support if you are not subscribed please subscribe leave a like it helps the channel a lot and see you guys next time i will probably go back to one of the previous series and more updates on the dialogue system are coming soon so thank you very much again everyone for staying here and see you guys next time bye


Alrighty, all I'm saying is it's not looking good for either side. Caesar Clown has lost a lot of his regiment, but also on the flip side of things, the smoke, the poisonous gas is basically filling up the entire laboratory. And it just gets closer and closer as everybody approaches each other. But guys, welcome to today's reaction. My name is JackTheBus. It's time to get back into the chaos of Puncazard. Double-fet like on this one because it helps me out a lot, and let's go! Wait, that's how Nami holds him off? Was that smoke? They can just run right through it! Chopper's puttin' in the work. Niiiice. Niiiice!  I actually know the milk is like, is like partially solid, I guess. I don't know. That's a great question. Gah! What are you doing? Oh, that's her friend. Oh, gosh. Okay, now Chopper said Mocha. Why are you standing like that? Are those all? Oh my gosh, he made so many. I had a boy. Well, he just keeps looping them out of his bag. Chopper's going crazy. Oh my gosh, look at the smoke, man. Where's Usopp? He like, wandered into some fridge. Who's outside? Oh wait, no, it's inside. Zoro's probably carrying her. Yeah, never mind. I was like, is there even an outsider's gas everywhere? This biscuit room is enormous. He's been running for a while. Oh, shoot. Yeah, if he had left her, she would die. 100%. Oh no. Oh, they're never going to make it. I just realized. He literally sees the direction that poison is coming from. He's running the wrong way. You sword geek. Oh, is that a Mocha doll? Why does it look so much like her? They're custom made.  Bro, she ran for so long. Oh no, it's going to bust open. I mean, okay. Hear me out. What would be so wrong with giving each of them like one, just for like right now, and then while they're eating it, you inject it. Boom. No! Wait, what is she doing? Oh my gosh, it's so they can't get it. Oh my gosh. Was she like not overdose, man? They're going to attack her for taking all of them. She did it for them too. Well, she hasn't swallowed them though. I think they're all in her cheeks. I'm pretty sure. She heard that and just... Dude, Mocha is the real one, man. No, she's swallowing! No! Oh, this is so f***ed. You also can't blame them, because like children would be like very just, they would believe anything from an adult especially. They're not skeptical like adults are. Yeah. I mean, is it possible that it hasn't failed though since they have turned into giants inherently? As kids? They may be the first that I've actually gone to that point. Well, I mean regardless, they should be tested on. But it's possible that it succeeded and they will grow up to just be giants, no? Bro. She like literally just saw the chance to save all of them that made that promise.  She saw as like opening up a chance for them to see their parents again especially. Even if it meant she dies. I don't know now, does she? That many at the same time, man? Even with like a sedative or the solution. I've also always seen shoppers like the kid of the crew too, to like see them have to take this step. King of the sea, baby. That's his task right now. Like you see how much harder the decision was for her to make that she wouldn't go home with them or she may not from eating all of them. Dude, it even shocked them, bro. Even when they're in this state, that's insane. I'm shocked that they even like stopped them. It took her falling and bleeding too. Oh, shopper. How do you treat her? Oh, it's her, them. There's, wait, what? Oh, Sanji, oh my gosh. Oh my gosh. I was like, no dog. Oh my gosh. Let's go, baby. He's here. The crew's here. He's like commanding these Navy men now. It's so funny. Oh, chopper. What? But yes, it is. What a quick question is that? Dude, chopper crying is so rough. Let's go. You don't have time because the smoke's going to get closer and closer and closer. Oh gosh. This is so depressing. Oh my God. Oh my gosh. Art. The dumpster exploded. What's up? Louis, he made it. Oh, one of those guys like sleeping on him. Dude, he kind of looks badass with a dragon wrapped around the man. I'm not going to lie. Yes, sir.  He's a man on a mission. Oh gosh. Dude, he looks so cool. He left one of them up. He singled out one single person. That's how much of control he has over it now. Oh my gosh. He's telling him exactly. Thank you. Thank you. Get in there, baby. Oh my gosh, man. That was a heavy episode. Like, I did not in a million years expect for her to just take all of them. I mean, once I saw that they caught her, I thought they were just going to get to them. It was just going to make it a little bit harder, but that was crazy. 615, let's go. I feel like with this many people, they could finally get the kids under control, but it's really just a poisonous gas that's pushing, like, for time. If that, like, wasn't a part of the whole equation, it wouldn't be that dire.  Which way is he going? Oh yeah, he found the friend of Mono. Brownbeard. Where has this man been? We've seen him more of this arc than Frankie, man. Wait, is that an outfit that's, like, empty? And then who stops all alone? I thought he was in a fridge. Oh, he just left? Oh my gosh, man. Could have been important. Oh. That's an interesting looking door. Oh my gosh. That's the door. Bro! Now, this is, like, the majority of... They're all excited to see Brownbeard. That's kind of sad. That's the majority of Caesar's men left, honestly. Especially with Monet taken down. This is, like, Virgo, then them. R-60... Oh wait, isn't this the door they were supposed to get to? Like, the best exit? This is security. I can see him. Oh my gosh, wait, he's gonna tell them. Oh, shoot, wait! Wait! Can Caesar bring himself to, like, take all of them down? No way. Bro. They haven't caught on... They don't completely believe him yet. Oh, shoot, wait. Oh, shoot. He's got it. He's still playing the part! Dang, he's laying it on thick.  Literally gas lighting.  They are dead.   Like, he's just attacking him, yeah. Caesar's a master manipulator. Please tell me his men don't gun him down. He did not come this far to die. Oh, yeah, actually. The cool brother shoved guns down his throat. He's counting down. He's taking away his breath. Whoa, that was creepy. Bro. Caesar is a monster. He doesn't even know. What is that? He's sticking it, wait, what? What is that? Dog, he did not come this far to die, man. He's escaped death way too many times. Oh, this is so sad.  Does Caesar have anything to worry about him? Oh my gosh. And now he's gonna tell him, Oh my gosh, bro. Caesar is a maniac! Whenever Brownbeard can't say anything or do anything, Oh my gosh, bro. This dude is wicked. And he just smiles in his face. Holy sh**. Actual demon. It was because of him.  Dude, this is gonna fill Brownbeard with such a, like, vengeance. If he's able to get himself back. Oh my gosh, man.  He's actually getting up. He shouldn't. Caesar will... Damn! Oh no. He's gonna just frame it that he's attacking him. Dude, no. Dude, don't. Don't. Don't. There's no way he dies like this. He can only stay in his head. This is so sad. There's no way he was kept alive to die like this. There's no way, man. There's no way. There's no way. This is so f*****. Gunned down by his own men. My gosh! No way, bro. Luffy, once he got out of that pit, he got there fast, man. But he ain't messing around. It's through a jank. Oh, this is like seconds before, I'm guessing. Dude, he does look really cool with a dragon wrapped around him. Yep. It even looks like it's like his tail, man. He saw Brownbeard get gunned down. That is so sad, man. Okay, now that Brownbeard lives from that, he's actually an unkillable demon king.  That dude has been through more than anyone I've ever seen in my life. Right before he was about to gas in that. Bro. Gear 3 hockey looks so cool, man. Boom! Oh my god. Dude! Oh, I thought it was blood for a second. Oh, it is some. But Luffy's gonna have to take down those men because they're gonna just see him attacking their boss. Oh, shoot. Oh, shoot. It's game time, baby. It's like a tension in the air. Momonosuke's face, bro. I can't, man. It's his reactions to things. I always want just a live Momonosuke reaction. Oh, this is gonna be a fight, man. This is gonna be a whole fight. That's his friend. I'm here now. Bro, Brownbeard crying is so devastating, man. He's getting gunned down by his men. I really have a soft spot for Brownbeard.  It's so sad. Wait, he's gonna send them away? The experiment. What, like the rest of the gas? Momonosuke's like, let me in there. Dude, whenever it's like white in the background with like slow moving, like you know Luffy's locked in, man. You know he's locked in. His little laugh, bro. Oh, there's more. Wait, is he gonna talk about the room that Law's in? He's just looking for time to stall. Ooh. He's trying to get up. Yeah, he just wants to waste time. Why? What is it? Can you just tell us? Yes, finally. Dovomingo owns this factory. Okay, yeah. Okay. It's processed into a fruit. Oh, wait. It's the... Oh, it's like the man made devil fruits. Like the one Momonosuke ate. Which is sad, makes it. Zoën type. Whoa. So they just be like processing devil fruits here. Sills him. Damn. Just sort of selling devil-like man-made devil fruits. One of the four embers is already in the move to form now. And an army of hundreds. Oh, shoot. Wait, that's probably the one that Law wants the team up to take down. They still can't tell us? I don't think it'd be Shanks. That's not Shanks vibe, bro. Dude, this is a huge scheme. It's like making an army. Oh my gosh, man. At least now we know. But if Caesar's taking down...  He's just gonna say yes and hit him, bro. Run! He's just gonna back down after that, really. Bro. Look at him. Boo! Boo! Ah, bro. What a hit. Dude, I love seeing Louisville when he gets pissed. Kinda scares me, though. That's true, actually. Oh my gosh. Okay, so huge reveal. S-A-D, you're sad. I don't know why they couldn't just tell us what it stands for.  And so I guess they're all Zoed. It's not just random devil fruits that they turn into. Or like it's not, it can't just be like a random logie or anything. It seems like it's just like random animals. And an emperor is after it to just pretty much mass produce an army, supposedly. It could... I really don't see it being Blackbeard. Because I don't know, it could honestly be. It's really a toss-up between the other three. Big mom, I'm blanking on the other's name. Blackbeard and Kido. Those three. I'm gonna just count Shanks out now. There is no way Shanks would... That's just not his style, bro. He keeps a tight crew. He likes to chill. We never have just an army of animals. I don't think. Unless I'm just being completely misplayed here, I do not picture that in the slightest. So it's really a toss-up between the other three because we know virtually... I mean, we know Blackbeard and he's a loose cannon, so it's right to expect it maybe from him. But the other two we virtually know nothing about. Kido more than Big Mom since we've at least kind of seen Big Mom and at least where she resides. But bro, like, it's just like bombs being dropped and Luffy making moves, baby. But guys, that has been it for my reaction today. I hope you did enjoy.  It does help me out quite a bit. I'll catch you next time. Peace, peace.


My congressional buddies, it's good to see you. I'm John, it's good to see you. It's sugar people, you know, and they're arguing with y'all. And they asked me about the administration, and said, you know, I've been here 20 years now. I've worked for a member, I've been a member, and I said, let me tell you, I've worked with the president on a number of issues, and we're an unbeatable team. But when he's on the other side, you guys are in for trouble. He's tough, but he's good. So, anyway. Well, listen, you know what this is all about, and all on that amendment, the skeleton, and Edward's in the, well, that amendment. That's the one skeleton. We feel, we believe very deeply that we're going to see you. It's good to see you. Thank you very much for coming down. You know what I'm going to talk to you about? I just really feel so deeply about this situation and that it is a very big element of our national security is involved here. Because if we don't make the right moves, we know what the success is going to be, the continuation of building up the communist totalitarian state here in the mainland of the Americas, and they themselves have repeatedly said with no hesitation that their revolution is not going to stop at their boundaries. They're going to carry on the communist idea when we'll come to the state and so forth. And I don't know what your problems might be or whether you have any with regard to this vote, but we believe that the skeletons are going to get rid of the skeletons. Skeleton. Skeleton. Yeah. Zara. Zara.  That that amendment is the answer, the McCurdy amendment, knowing the situation in the countries and how long they've been without addition to the government. First government told me 92. I did it once before.


In this presentation, we will take a look at the journal entry related to the issuance of bonds at par value. Support accounting instruction by clicking the link below, giving you a free month membership to all of the content on our website, broken out by category, further broken out by course. Each course then organized in a logical, reasonable fashion, making it much more easy to find what you need than can be done on a YouTube page. We also include added resources such as Excel practice problems, PDF files, and more like QuickBooks backup files when applicable. So once again, click the link below for a free month membership to our website and all the content on it. When considering the issuance of bonds, remember that what we're doing is we're giving out basically a promise. Similar to a note that we would have, except that a note is coming from the bank, whereas a bond we could give the bond to anyone. We could sell the bonds to the public, in other words. The other difference is going to be that when we talk about a note, we're typically saying that the thing will change on the note with negotiation will be the amount of the note. Let's say we have 100,000 notes, and then we adjust the interest rate in order to make an agreement. So the thing that kind of changes within a note for bargaining purposes is the interest rate. On a bond, however, if the bond was already produced, already made, then it is what it is. It's already been written out here. So the amount on the bond is fixed then, the rate is fixed, the amount of the due date is fixed, everything is fixed once the bond has been generated. So then how do we trade bonds if the interest rate has differed? The market rate is different than the bond rate. Then we're not going to be able to negotiate the bond because we can't adjust the rate to something that we'll sell, and therefore what are we going to do? We're going to change the amount we sell it for. So note what we can't change. We can't change the amount on the bond. We can't change the interest rate on the bond. What we can do is sell this bond for something different than the face amount. So that's what's going to be different from bonds and notes. Now a bond could, if we made the bond at this point in time and we knew exactly what the market rate was to sell it for, then we would make the rate on the bond equivalent to the market rate, which would be great. And that would be the easiest thing to do, it would be the easiest journal to record. That's what we will record now. If however the bond had been on the market or there's some type of time delay between the making of the bond and the selling of the bond, because we can trade these bonds at any given time, then the market rate will differ almost inevitably from the stated rate on the bond. And we're going to have to then do something if we want to sell it. That something's going to be to sell it for more or less discount or premium of the face amount of the bond. So if we sell it for exactly the amount of the bond, then that's the easiest scenario. Remember that this only happens if the market rate and the rate on the bond are the same, the bond rate and the market rate are the same, then we'll sell it for whatever the bond is for. So if we had bonds with a face amount of 240,000, we're going to get 240,000 for the bonds, and then we're just going to credit bonds payable for the 240,000. This would be very similar to just taking out a loan from the bank. If we took out a loan from the bank, it doesn't even matter what the interest rate would be, because we're going to pay the interest in the future. It doesn't affect the transaction at this point in time. So the same would be for the bond. If the bond market rate was the same as the rate on the bond, then we would just issue the bonds for the face amount of the bond. And there would be no discount or premium. And it would just be similar to the journal entry we would have for taking out a loan. We would debit cash. Cash is going to increase. And we're going to increase the liability that we owe. So cash here started out at $270,000. This is our beginning trial balance. Debits are non-bracketed. Credits are bracketed. Debits minus the credits are zero, meaning debits equal to credits. Net income is currently at $700,000. This $700,000 minus no expenses. So cash is going to go up from $270,000. Debiting cash, $240,000 to $960,000. Bonds payable, the liability, recorded on the other side. It's going to go from zero up in the credit direction to $240,000. So note the results here then. We got cash. That's the point. We want to get capital to increase possibly because we want to produce something or make something to help us generate revenue in the future. So possibly we want to buy a new building or possibly we want to put money to research or development and development. So we're going to put money into cash and then hopefully use it to generate revenue. The other side of it goes to a liability because we owe it back in the future, similar to if it was a note to payable, meaning we're going to owe this $240,000 back at the end of the bond term. And we will pay interest, but note the interest doesn't even really matter when we record the bond because if the market rate is the same as the rate on the bond, then we're just going to record interest as we would like a note. We're just going to record it when it's due. We haven't incurred any interest yet. That only happens as time passes. So it doesn't even matter what the interest rate is. If we issued the bond at the face amount, we will record the interest as time passes because that's when we incurred the interest. So at this point in time, note that there's no effect on the income statement, no effect on net income. We still have the sales minus the expenses of the 700.