My name is Laura, and this is my story. It's a tale of fear and the unknown, of love and betrayal, and of the strength of a mother's love. It all started when my husband, Adam, and I decided to start a new life in a beautiful villa by the lake in the small town of Kruklanki. The villa, standing alone amidst the vast expanse of nature, was like an island, symbolising our isolation. The lake, with its calm surface hiding unknown depths, mirrored the unknown we were about to step into.
We were a young couple, full of hope and dreams. Adam, with his easy smile and infectious laughter, was my rock. We dreamt of a peaceful life, of raising our child in the serene surroundings of the villa. We shared a love for the outdoors, often spending our evenings stargazing, our hands intertwined. The villa stood tall amidst a lush emerald forest, its weathered stones blending harmoniously with the vibrant foliage. Sunlight filtered through the dense canopy, casting ethereal patterns on the moss-covered path leading to the entrance. The air was fragrant with the scent of damp earth and wildflowers, inviting us to embark on our new life.
But even as we unpacked our belongings, I couldn't shake off a strange feeling. Adam, usually so attentive, seemed distant, his mind elsewhere. I dismissed it as stress from the move. Little did I know then, it was a sign of the betrayal that was to come. Soon after we settled in, I couldn't shake off a sense of foreboding. The villa, once a symbol of our dreams, was starting to feel like a prison, its grandeur overshadowed by a chilling silence. And the lake, once a symbol of peace, now seemed to whisper of hidden dangers beneath its serene surface.
Soon after we settled in, I began to experience strange and terrifying events. At first, they were just subtle nuances: shadows moving along the corridors, whispers in the night, vague movements nearby. I tried to dismiss them as figments of my imagination, but they became increasingly disturbing and intense, filling me with a chronic sense of fear.
Adam, my husband, was sceptical. He believed that these were just products of my imagination, the result of stress from the move and adapting to a new place. Adam, ever the rationalist, tried to reassure me. 'Laura, it's just the stress of the move and the pregnancy,' he would say, his eyes full of concern yet disbelief. 'There's no real danger.' His words, meant to comfort, only served to widen the chasm between us. But I could feel it, something was not right.
One night, I woke up to a chilling whisper. It was so close, as if someone was right next to me. I turned on the bedside lamp, but there was no one there. The room was empty, but the feeling of being watched was overwhelming. My heart pounded in my chest, my palms were sweaty, and I was shaking.
'Adam,' I whispered, nudging him awake. He groaned, turning to face me. 'Did you hear that?'
'Hear what?' he mumbled, his eyes half-closed.
'The whispering. It was right here, right next to me.'
Adam sighed, rubbing his eyes. 'Laura, you're just stressed. It's the new house, the new surroundings. You're imagining things.'
I wanted to believe him, to write it off as a product of stress and fear. But deep down, I knew something was not right.
The next day, I noticed something else. The shadows in the house seemed to move on their own, even when there was no one around. I could hear soft whispers, but when I tried to locate the source, there was nothing. I felt like I was being watched, followed. I tried to tell Adam about it, but he just brushed it off, saying I was just stressed and needed rest.
But I knew something was wrong. I could feel it in my bones. The house was not just a house. It was something else, something sinister. And I was trapped in it, with no one to believe me, no one to help me. I was alone, and I was scared.
The days turned into weeks, and the strange occurrences in the villa didn't cease. If anything, they became more frequent, more intense. I started noticing mysterious figures around the villa, always on the edge of my vision. They were close, yet always just far enough that I couldn't make out their features. Their presence filled me with a sense of paranoia and constant danger. I felt like a prey being watched by predators, waiting for the right moment to strike.
Our neighbours, Mr. and Mrs. Graverson, began to show an unusual interest in me. One afternoon, as I was tending to the garden, Mrs. Graverson approached me.
'Laura, dear,' she said, her voice sweet yet somehow unsettling. 'How are you finding Kruklanki? Is the villa to your liking?'
Her questions seemed innocent, but there was something in her gaze that made me uneasy.
Mrs. Graverson's eyes lingered on my stomach for a moment too long, a strange smile playing on her lips, something I couldn't quite define. Mr. Graverson, with his piercing gaze, and Mrs. Graverson, with her constant, unsettling smile, were always too eager to help. Their behavior was suspicious, their questions too probing. They seemed particularly interested in my pregnancy, their eyes lingering on my growing belly a moment too long. I couldn't shake off the feeling that they were hiding something.
One day, Mrs. Graverson came over with a basket of freshly baked cookies. As she handed them to me, her gaze lingered on my stomach. There was something in her eyes, a strange intensity that made me uncomfortable. I didn't know it then, but it was a hint of the dark intentions that lay beneath her friendly facade. I was pregnant at the time, and her eyes seemed to hold a strange fascination for my unborn child. It was a fleeting moment, but it sent chills down my spine.
As time passed, I began to suspect that the Graversons were part of a cult practising occultism, planning to use my unborn child in a dark ritual. It was a terrifying thought, but the pieces of the puzzle were starting to fit together. The strange occurrences, the mysterious figures, the Graversons' unusual interest in me and my child, it all pointed to something dark and sinister.
I started finding evidence of their involvement in other dangerous activities. I found strange symbols carved into the trees around their house, symbols that I later found out were associated with occult practices. I also noticed that they would often disappear during the night, only to return in the early hours of the morning, looking exhausted and secretive.
I suspected that they were responsible for the strange events and observations. The fear was overwhelming, but I knew I had to protect my child. I was alone in this fight, with no one to turn to. But I was determined. I was a mother, and I would do anything to keep my child safe.
In my desperation, I turned to the local clergyman, Father Christopher. He was a quiet man, always keeping to himself. I had often wondered why he seemed so distant, so detached from the rest of the town. Little did I know, his aloofness was a sign of the secrets he was hiding. I found him in the church, his eyes filled with a quiet serenity.
'Father Christopher,' I began, my voice trembling. 'I need your help. There's something... something wrong in the villa.'
He looked at me, his gaze thoughtful. 'Tell me everything, Laura,' he said, his voice calm and reassuring.
I went to the church, hoping to find some solace, some protection. I wanted to tell him about my experiences, ask for his support and protection. But to my surprise, Father Christopher seemed to be absent and avoided contact with me.
I tried to reach out to him several times, but each time, I was met with silence. His absence was strange, and it made me wonder if he was involved in this intrigue. The thought was terrifying, but I couldn't ignore the possibility. I felt even more disoriented and anxious when I discovered that Father Christopher might be involved in the conspiracy.
I started to suspect that he himself was a member of the cult or was being intimidated by them. This discovery made me feel even more alone and defenceless in the face of the impending threat. I was desperate and isolated, and I had to fend for myself.
I decided to seek information on my own to uncover the truth and find a way to protect myself and my unborn child. I spent countless hours researching, trying to understand what was happening. I read about occult practices, about cults and their rituals. The more I learned, the more terrified I became. But I knew I had to keep going, for the sake of my child.
One night, as I was poring over an old book about local legends and myths, I came across a passage that sent chills down my spine. It spoke of a cult that had once existed in Kruklanki, a cult that practised dark rituals involving unborn children. The description matched the Graversons' behaviour and the strange occurrences in the villa. I knew then that my suspicions were not unfounded.
I decided to confront the Graversons. I knocked on their door, my heart pounding. 'I've noticed you've been acting strangely,' I said, trying to keep my voice steady. They exchanged a glance, their smiles never reaching their eyes. 'We're just concerned for you, dear,' Mrs. Graverson replied, her voice too sweet. But their reassurances did nothing to quell my fears.
I was up against something far more dangerous than I had imagined. But I was not going to give up. I was a mother, and I would do whatever it took to protect my child.
As my due date approached, I realised that time was running out and the threat was becoming greater. I had a recurring dream, a nightmare really, of a clock ticking loudly, its hands moving faster and faster. It was a chilling reminder of the impending danger, a foreshadowing of the race against time that lay ahead. I had to act quickly to save my child and uncover the truth. My maternal instinct and determination had strengthened, giving me the power to fight against the unknown and dark enemy. Despite the exhaustion tugging at my eyelids, I poured over the ancient texts, my fingers tracing the cryptic symbols. I wouldn't rest, not until I had found a way to protect my child, and I made a decision that would change everything.
I decided to find a mysterious book that, according to legend, had the power to protect against dark forces. I began an intensive search, scouring old libraries, archives, and places connected with the history of Kruklanki. I studied ancient writings, mythologies, and ancient rituals, trying to find clues and the key to solving this dark mystery.
During my search, I uncovered a horrifying history of Kruklanki. It turned out that many years ago, similar rituals had taken place in the town, bringing a curse and evil upon its inhabitants. The town's past was steeped in blood and dark secrets. Now, the cult wanted to renew this power and use my unborn child in their dark plans.
I spent countless hours in the town's library, pouring over old books and documents. I found references to a cult that had existed in Kruklanki centuries ago, a cult that had been banished after a terrible event. The details were vague, but it was clear that the cult had been involved in dark rituals and practices.
The more I learned, the more terrified I became. But I also felt a strange sense of determination. I was not just fighting for myself anymore, I was fighting for my child. And I was not going to let anything harm my baby.
I knew that finding the book was a long shot, but it was the only hope I had. I had to believe that it existed, that it could help me. As my due date approached, the Graversons' interest in me seemed to intensify. They would drop by unannounced, their questions becoming more personal, their gazes more intrusive. I had to believe that I could protect my child, that I could find the mysterious book and put an end to this nightmare.
In a dramatic turn of events, I discovered that Adam, my husband, had been bribed by the cultists and intended to give them our unborn child. A cold numbness spread through me as I read the words, each sentence a dagger to my heart. I could barely breathe, the paper trembling in my hands and fueled my motivation to fight even more. At first, I refused to believe it, but the evidence was overwhelmingly strong.
I found a letter hidden in his drawer, a letter from the Graversons. It spoke of a ritual, of a promise of power and wealth, and of our child. I couldn't believe what I was reading. The man I loved, the man who would hold me during those terrifying nights, was planning to betray me and our unborn child. Was it the promise of power and wealth that lured him? Or was he manipulated, ensnared by the Graversons' cunning words? The betrayal cut deep, but I had no time for despair.
I confronted Adam, my heart pounding in my chest. 'Adam,' I said, holding out the letter. 'What is this?'
He looked at the letter, his face paling. 'Laura, I...'
'You were going to give our child to them, weren't you?' I demanded, my voice shaking with anger and betrayal. He fell silent, his silence confirming my worst fears.
The look in his eyes confirmed my worst fears. I felt a wave of despair wash over me, but I knew I had to stay strong for my child.
I had to face Adam and defeat the dark forces that were plaguing Kruklanki. I pushed the boundaries of my courage and strength to protect my child and prevent the cultists from performing their dark ritual. I also had to confront my own fears and doubts that accompanied me.
In the hours leading up to the confrontation, I prepared myself for the battle ahead. Father Christopher had given me a small cross, a symbol of faith and protection. Clutching it tightly, I steeled myself for what was to come. As I entered the church, the cultists turned towards me, surprise flickering in their eyes. I stepped forward, my voice echoing in the silence, 'This ends now.' Adam was among them. Our eyes met, and for a moment, I saw a flicker of the man I once knew. But it was gone as quickly as it came. He stepped forward, trying to dissuade me, but I stood my ground. 'You won't take my child,' I declared, my voice steady despite the fear coursing through me. It was a moment where the power of a mother's love and courage broke through the darkness and triumphed over it.
I stood in the church, my heart pounding in my chest, as I faced the cultists. I could see the surprise in their eyes as I confronted them, as I defied them. With Father Christopher by my side, we fought against the darkness that threatened to consume us.
In the end, love and courage prevailed. I managed to save my child, to protect him from the darkness that had threatened to take him away from me. It was the hardest thing I had ever done, but I would do it again in a heartbeat for my child.
In the aftermath of the confrontation, the town was eerily quiet. The cultists had been defeated, their dark plans thwarted. Adam was nowhere to be found, and I was left to pick up the pieces of my shattered life.
In the days that followed, the weight of the ordeal began to lift, replaced by a newfound strength within me. I made the decision to leave the villa behind, a physical representation of the darkness that had consumed my life. With each step I took away from that place, I felt a sense of liberation and determination.
I found a small house nestled in the heart of Kruklanki, a place where the warmth of the community embraced me. As I settled into my new home, I realised that my journey was not just about protecting my child, but also about finding my own strength. Through the trials I had faced, I had discovered a reservoir of resilience and courage within myself that I never knew existed.
Father Christopher, my steadfast companion, continued to provide guidance and support. We spent countless hours in conversation, sharing our experiences and searching for meaning in the darkness that had enveloped Kruklanki. Through his wisdom and unwavering faith, I learned to embrace my role as a protector and a fighter.
As time went on, I saw the transformation within me. The fear that once gripped my heart had been replaced by a fierce determination to rebuild and find joy in the simple moments. I laughed with neighbours, embraced the beauty of the lake, and reveled in the innocent smiles of my child.
In the midst of the darkness, I found my own light. The journey had not only saved my child but had also saved me. I was no longer the frightened woman who arrived in Kruklanki, but a mother fortified by love and an unyielding spirit. Together, my child and I would create a new story, one filled with hope and the resilience to face any darkness that may come our way.
Despite everything, I found hope. Hope in the kindness of Father Christopher, hope in the strength of my love for my child, hope in the possibility of a new beginning. I had faced the darkness and come out on the other side stronger and more determined.
This is my story, a story of fear and courage, of darkness and light, of despair and hope. It's a story of a mother's love, a love so strong it can conquer even the darkest of evils. And it's a story of Kruklanki, a town that faced its dark past and emerged stronger.

Hi guys, I'm having problems when I turn on the shaders on Iris the game crashes, what do you think is the cause and how can I fix it?
Thank you so much
​
---- Minecraft Crash Report ----
// My bad.
​
Time: 2023-06-03 22:06:48
Description: mouseClicked event handler
​
java.lang.ExceptionInInitializerError

`at io.github.douira.glsl_transformer.cst.token_filter.TokenChannel.(`[`TokenChannel.java:49`](https://TokenChannel.java:49)`)` `at net.coderbot.iris.pipeline.transform.TransformPatcher.(`[`TransformPatcher.java:129`](https://TransformPatcher.java:129)`)` `at net.coderbot.iris.postprocess.CompositeRenderer.createProgram(`[`CompositeRenderer.java:295`](https://CompositeRenderer.java:295)`)` `at net.coderbot.iris.postprocess.CompositeRenderer.(`[`CompositeRenderer.java:99`](https://CompositeRenderer.java:99)`)` `at net.coderbot.iris.pipeline.newshader.NewWorldRenderingPipeline.(`[`NewWorldRenderingPipeline.java:228`](https://NewWorldRenderingPipeline.java:228)`)` `at net.coderbot.iris.Iris.createPipeline(`[`Iris.java:647`](https://Iris.java:647)`)` `at net.coderbot.iris.pipeline.PipelineManager.preparePipeline(`[`PipelineManager.java:34`](https://PipelineManager.java:34)`)` `at net.coderbot.iris.Iris.reload(`[`Iris.java:589`](https://Iris.java:589)`)` `at net.coderbot.iris.apiimpl.IrisApiV0ConfigImpl.setShadersEnabledAndApply(`[`IrisApiV0ConfigImpl.java:28`](https://IrisApiV0ConfigImpl.java:28)`)` `at net.coderbot.iris.gui.screen.ShaderPackScreen.applyChanges(`[`ShaderPackScreen.java:542`](https://ShaderPackScreen.java:542)`)` `at net.coderbot.iris.gui.screen.ShaderPackScreen.lambda$init$2(`[`ShaderPackScreen.java:227`](https://ShaderPackScreen.java:227)`)` `at net.minecraft.class_4185.method_25306(class_4185.java:43)` `at net.minecraft.class_4264.method_25348(class_4264.java:16)` `at net.minecraft.class_339.method_25402(class_339.java:120)` `at net.minecraft.class_4069.method_25402(class_4069.java:27)` `at net.coderbot.iris.gui.screen.ShaderPackScreen.method_25402(`[`ShaderPackScreen.java:180`](https://ShaderPackScreen.java:180)`)` `at net.minecraft.class_312.method_1611(class_312.java:94)` `at net.minecraft.class_437.method_25412(class_437.java:489)` `at net.minecraft.class_312.method_1601(class_312.java:94)` `at net.minecraft.class_312.method_22686(class_312.java:165)` `at net.minecraft.class_1255.execute(class_1255.java:103)` `at net.minecraft.class_312.method_22684(class_312.java:165)` `at org.lwjgl.glfw.GLFWMouseButtonCallbackI.callback(`[`GLFWMouseButtonCallbackI.java:43`](https://GLFWMouseButtonCallbackI.java:43)`)` `at org.lwjgl.system.JNI.invokeV(Native Method)` `at org.lwjgl.glfw.GLFW.glfwWaitEventsTimeout(`[`GLFW.java:3474`](https://GLFW.java:3474)`)` `at com.mojang.blaze3d.systems.RenderSystem.limitDisplayFPS(`[`RenderSystem.java:222`](https://RenderSystem.java:222)`)` `at net.minecraft.class_310.method_1523(class_310.java:1208)` `at net.minecraft.class_310.method_1514(class_310.java:768)` `at net.minecraft.client.main.Main.method_44604(`[`Main.java:244`](https://Main.java:244)`)` `at net.minecraft.client.main.Main.main(`[`Main.java:51`](https://Main.java:51)`)` `at net.fabricmc.loader.impl.game.minecraft.MinecraftGameProvider.launch(`[`MinecraftGameProvider.java:462`](https://MinecraftGameProvider.java:462)`)` `at net.fabricmc.loader.impl.launch.knot.Knot.launch(`[`Knot.java:74`](https://Knot.java:74)`)` `at net.fabricmc.loader.impl.launch.knot.KnotClient.main(`[`KnotClient.java:23`](https://KnotClient.java:23)`)` 

Caused by: java.lang.UnsupportedOperationException: java.io.InvalidClassException: org.antlr.v4.runtime.atn.ATN; Could not deserialize ATN with version 4 (expected 3).

`at org.antlr.v4.runtime.atn.ATNDeserializer.deserialize(`[`ATNDeserializer.java:187`](https://ATNDeserializer.java:187)`)` `at io.github.douira.glsl_transformer.GLSLLexer.(`[`GLSLLexer.java:2924`](https://GLSLLexer.java:2924)`)` `... 33 more` 

Caused by: java.io.InvalidClassException: org.antlr.v4.runtime.atn.ATN; Could not deserialize ATN with version 4 (expected 3).

`... 35 more` 

​
​
A detailed walkthrough of the error, its code path and all known details is as follows:
---------------------------------------------------------------------------------------
​
-- Head --
Thread: Render thread
Stacktrace:

`at io.github.douira.glsl_transformer.cst.token_filter.TokenChannel.(`[`TokenChannel.java:49`](https://TokenChannel.java:49)`)` `at net.coderbot.iris.pipeline.transform.TransformPatcher.(`[`TransformPatcher.java:129`](https://TransformPatcher.java:129)`)` `at net.coderbot.iris.postprocess.CompositeRenderer.createProgram(`[`CompositeRenderer.java:295`](https://CompositeRenderer.java:295)`)` `at net.coderbot.iris.postprocess.CompositeRenderer.(`[`CompositeRenderer.java:99`](https://CompositeRenderer.java:99)`)` `at net.coderbot.iris.pipeline.newshader.NewWorldRenderingPipeline.(`[`NewWorldRenderingPipeline.java:228`](https://NewWorldRenderingPipeline.java:228)`)` `at net.coderbot.iris.Iris.createPipeline(`[`Iris.java:647`](https://Iris.java:647)`)` `at net.coderbot.iris.pipeline.PipelineManager.preparePipeline(`[`PipelineManager.java:34`](https://PipelineManager.java:34)`)` `at net.coderbot.iris.Iris.reload(`[`Iris.java:589`](https://Iris.java:589)`)` `at net.coderbot.iris.apiimpl.IrisApiV0ConfigImpl.setShadersEnabledAndApply(`[`IrisApiV0ConfigImpl.java:28`](https://IrisApiV0ConfigImpl.java:28)`)` `at net.coderbot.iris.gui.screen.ShaderPackScreen.applyChanges(`[`ShaderPackScreen.java:542`](https://ShaderPackScreen.java:542)`)` `at net.coderbot.iris.gui.screen.ShaderPackScreen.lambda$init$2(`[`ShaderPackScreen.java:227`](https://ShaderPackScreen.java:227)`)` `at net.minecraft.class_4185.method_25306(class_4185.java:43)` `at net.minecraft.class_4264.method_25348(class_4264.java:16)` `at net.minecraft.class_339.method_25402(class_339.java:120)` `at net.minecraft.class_4069.method_25402(class_4069.java:27)` `at net.coderbot.iris.gui.screen.ShaderPackScreen.method_25402(`[`ShaderPackScreen.java:180`](https://ShaderPackScreen.java:180)`)` `at net.minecraft.class_312.method_1611(class_312.java:94)` `at net.minecraft.class_437.method_25412(class_437.java:489)` `at net.minecraft.class_312.method_1601(class_312.java:94)` `at net.minecraft.class_312.method_22686(class_312.java:165)` `at net.minecraft.class_1255.execute(class_1255.java:103)` `at net.minecraft.class_312.method_22684(class_312.java:165)` `at org.lwjgl.glfw.GLFWMouseButtonCallbackI.callback(`[`GLFWMouseButtonCallbackI.java:43`](https://GLFWMouseButtonCallbackI.java:43)`)` `at org.lwjgl.system.JNI.invokeV(Native Method)` `at org.lwjgl.glfw.GLFW.glfwWaitEventsTimeout(`[`GLFW.java:3474`](https://GLFW.java:3474)`)` 

​
-- Affected screen --
Details:

`Screen name: net.coderbot.iris.gui.screen.ShaderPackScreen` 

Stacktrace:

`at net.minecraft.class_437.method_25412(class_437.java:489)` `at net.minecraft.class_312.method_1601(class_312.java:94)` `at net.minecraft.class_312.method_22686(class_312.java:165)` `at net.minecraft.class_1255.execute(class_1255.java:103)` `at net.minecraft.class_312.method_22684(class_312.java:165)` `at org.lwjgl.glfw.GLFWMouseButtonCallbackI.callback(`[`GLFWMouseButtonCallbackI.java:43`](https://GLFWMouseButtonCallbackI.java:43)`)` `at org.lwjgl.system.JNI.invokeV(Native Method)` `at org.lwjgl.glfw.GLFW.glfwWaitEventsTimeout(`[`GLFW.java:3474`](https://GLFW.java:3474)`)` `at com.mojang.blaze3d.systems.RenderSystem.limitDisplayFPS(`[`RenderSystem.java:222`](https://RenderSystem.java:222)`)` `at net.minecraft.class_310.method_1523(class_310.java:1208)` `at net.minecraft.class_310.method_1514(class_310.java:768)` `at net.minecraft.client.main.Main.method_44604(`[`Main.java:244`](https://Main.java:244)`)` `at net.minecraft.client.main.Main.main(`[`Main.java:51`](https://Main.java:51)`)` `at net.fabricmc.loader.impl.game.minecraft.MinecraftGameProvider.launch(`[`MinecraftGameProvider.java:462`](https://MinecraftGameProvider.java:462)`)` `at net.fabricmc.loader.impl.launch.knot.Knot.launch(`[`Knot.java:74`](https://Knot.java:74)`)` `at net.fabricmc.loader.impl.launch.knot.KnotClient.main(`[`KnotClient.java:23`](https://KnotClient.java:23)`)` 

​
-- Affected level --
Details:

`All players: 1 total; [class_746['Rafa20100'/278, l='ClientWorld minecraft:overworld', x=46.22, y=66.00, z=-100.00]]` `Chunk stats: Client Chunks (ImmPtl) 756` `Level dimension: minecraft:overworld` `Level spawn location: World: (64,64,-48), Section: (at 0,0,0 in 4,4,-3; chunk contains blocks 64,-64,-48 to 79,319,-33), Region: (0,-1; contains chunks 0,-32 to 31,-1, blocks 0,-64,-512 to 511,319,-1)` `Level time: 2717 game time, 8107 day time` `Server brand: fabric` `Server type: Integrated singleplayer server` 

Stacktrace:

`at net.minecraft.class_638.method_8538(class_638.java:453)` `at net.minecraft.class_310.method_1587(class_310.java:2341)` `at net.minecraft.class_310.method_1514(class_310.java:787)` `at net.minecraft.client.main.Main.method_44604(`[`Main.java:244`](https://Main.java:244)`)` `at net.minecraft.client.main.Main.main(`[`Main.java:51`](https://Main.java:51)`)` `at net.fabricmc.loader.impl.game.minecraft.MinecraftGameProvider.launch(`[`MinecraftGameProvider.java:462`](https://MinecraftGameProvider.java:462)`)` `at net.fabricmc.loader.impl.launch.knot.Knot.launch(`[`Knot.java:74`](https://Knot.java:74)`)` `at net.fabricmc.loader.impl.launch.knot.KnotClient.main(`[`KnotClient.java:23`](https://KnotClient.java:23)`)` 

​
-- Last reload --
Details:

`Reload number: 2` `Reload reason: manual` `Finished: Yes` `Packs: Default, Fabric Mods` 

​
-- System Details --
Details:

`Minecraft Version: 1.19.2` `Minecraft Version ID: 1.19.2` `Operating System: Windows 10 (amd64) version 10.0` `Java Version: 17.0.3, Microsoft` `Java VM Version: OpenJDK 64-Bit Server VM (mixed mode), Microsoft` `Memory: 1398910816 bytes (1334 MiB) / 2684354560 bytes (2560 MiB) up to 6442450944 bytes (6144 MiB)` `CPUs: 8` `Processor Vendor: GenuineIntel` `Processor Name: 11th Gen Intel(R) Core(TM) i7-11370H @ 3.30GHz` `Identifier: Intel64 Family 6 Model 140 Stepping 1` `Microarchitecture: Tiger Lake` `Frequency (GHz): 3.30` `Number of physical packages: 1` `Number of physical CPUs: 4` `Number of logical CPUs: 8` `Graphics card #0 name: Parsec Virtual Display Adapter` `Graphics card #0 vendor: Parsec Cloud, Inc.` `Graphics card #0 VRAM (MB): 0.00` `Graphics card #0 deviceId: unknown` `Graphics card #0 versionInfo: DriverVersion=`[`0.38.0.0`](https://0.38.0.0) `Graphics card #1 name: NVIDIA GeForce MX450` `Graphics card #1 vendor: NVIDIA (0x10de)` `Graphics card #1 VRAM (MB): 2048.00` `Graphics card #1 deviceId: 0x1f97` `Graphics card #1 versionInfo: DriverVersion=31.0.15.2686` `Graphics card #2 name: Intel(R) Iris(R) Xe Graphics` `Graphics card #2 vendor: Intel Corporation (0x8086)` `Graphics card #2 VRAM (MB): 1024.00` `Graphics card #2 deviceId: 0x9a49` `Graphics card #2 versionInfo: DriverVersion=27.20.100.8984` `Memory slot #0 capacity (MB): 8192.00` `Memory slot #0 clockSpeed (GHz): 3.20` `Memory slot #0 type: DDR4` `Memory slot #1 capacity (MB): 8192.00` `Memory slot #1 clockSpeed (GHz): 3.20` `Memory slot #1 type: DDR4` `Virtual memory max (MB): 28457.54` `Virtual memory used (MB): 25152.34` `Swap memory total (MB): 12294.23` `Swap memory used (MB): 563.64` `JVM Flags: 9 total; 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Below I've outlined what I believe are the 9 skills that define a balanced athlete. There are definitions for them as well as a few sentences of why I believe that skill's development is important (through a volleyball lens). This won't be a crazy peer reviewed paper, so keep that in mind. Anyone who wants to build a complete workout or may not know exactly what area in their athleticism is weak should be able to get something from this. This post is a bit long so if you don't want to read it all, you can just skim through the skills and give feedback as to whether I missed anything.
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1. Strength

Strength is the ability to create force. Think strongmen or power lifters. As a volleyball player, you will want a leaner physique as excess muscle will only slow you down. Getting a good strength to weight ratio through callisthenics is an excellent way to improve this area and also free. Do keep in mind that avoiding a bulky frame doesn’t mean you should shy away from lifting weights. Squatting 1.5x your weight is the target range I see for a lot for jumpers training vert. Deadlifts are also an important exercise for strengthening the glutes which do 40% of the work jumping! They will give you no results without weights. Strengthening your fingers and entire arm will help you set from longer distances when needed, overhead pass better, give you a great block, and improve the occasional joust so don’t forget to train them as well.

1. Speed

Getting from point A to B in as small a time frame as possible. For sprinting there are 4 phases: Start, Acceleration, Driving (top end speed), and Deceleration. I believe a player should focus on accelerating and decelerating since the court is small enough that your top speed isn’t AS important as how fast you can get to it or hit the brakes. Acceleration carries over well for improving your jumping ability in a hitting approach too. You will be able to add more momentum into your jump with good speed. Being able to decelerate fast will allow you to get back in position quickly among other things. It is very beneficial to be able to stop on a dime at will.

1. Power

The ability to create maximal force in minimal time. This is especially important for jumping high, hitting hard, serving, etc. You will want to train explosively while gaining strength AND speed as these will affect how much power you can produce. An MMA middleweight will be able to produce more force in their punches and kicks than someone with say, 20-30 lbs of extra muscle if they lack power. Same reason why someone at your local gym who might squat or curl the most wouldn’t necessarily be the best jumper or throw the hardest.

1. Agility

The most relevant characteristics of an agile individual are nimble feet, the ability to change directions while maintaining speed, and the ability to move quickly from one movement pattern to another. Moving to either pin for a block or getting behind a pass in a split second and adjusting your platform accordingly. Chasing down a bad pass and diving to keep a rally going. Transitioning from defence to offence and vice versa. I personally like to associate agility with quick reflexes as well. All of this won’t amount to much if you can’t process the information fast. This skill is priceless to any athlete.

1. Balance

The ability to perform movements with precision and grace; maintaining equilibrium. Balance may not seem like it’s that important at first. It’s not like situations arise in a game where you need a gymnasts level of balance. Although, if you can improve your mid-air stability and overall coordination, you will have way more control over your body. Balance is something you will need to have in order to use your power correctly. If you are leaning too far left or you begin falling backwards when hitting, the result will be a weak hit or even one out of bounds. Recently I have been training a lot with single leg balance while closing my eyes to train this (try this on your toes if it’s too easy). The core also aids in balance off the ground so train it as well .

1. Mobility

Another aspect of fitness that few actively train. Essentially it is flexibility in motion. Remaining strong at the upper levels of your flexibility is key for avoiding injuries and strength in unconventional positions. Sinking low for passes or getting a full range of motion in your arms will increase your longevity and effective playing range. Stretching dynamically and statically are great for gaining mobility and warming up. I’ve started static stretching only after exercise though as I have heard that doing it prior to activity can actually decrease performance and even increase injury!

1. Game Sense

Sports IQ and adaptability. Adaptability is how well you adjust to different scenarios or environmental changes. It sucks having knowledge of tactics if you can’t put that knowledge to use deceptively or in a timely fashion. Watching high level games and learning as much as possible. Playing with better players than you. Having a good coach training you. Memorising various plays and knowing when to employ them. These are all ways to deepen game sense. The mind is your greatest tool.

1. Stamina

Specifically anaerobic capacity which is the maximal work performed during maximum-intensity short term physical effort. Volleyball has a lot of situations where you will be standing or shifting at one moment, and the next you will be exerting a lot of effort. You will want to train high intensity intervals, maximal effort sprints. This will train your body to withstand lactic acid and slow its accumulation. Sprints will help develop acceleration too so they are a great addition to anyone's training.

1. Accuracy

One of, if not the most important skill to have in volleyball. Whether you are a setting, passing, or hitting you will need it. What good is all of the above if you can’t keep the ball in the court or serve receive well? Proper technique (which could probably be its own category) is a key component for gaining better aim while also keeping your body safe. No further explanations needed.
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Hopefully I was able to get my point across coherently. This is my first time trying out a higher effort post, so let me know what needs improvement. I based it off an article (The Ten Components of Complete Athleticism) and I added or removed categories until I felt like I covered the main tenets of athleticism. Wikipedia was also a resource that I used. Did I miss any points that could have been added? Or was there a part that I was wrong in that needed correcting? Maybe even a tenth athletic skill I had failed to think of... All feedback is encouraged. All edits were to the formatting and spelling.

2023 rx 350 hybrid. Dealer says he will cut me a smoking deal for $2,500 to get 5 years of all service. I looked up the maintenance schedule and it says every 10k/1yr an oil change+cabin air filter, 1.5yr replace the batteries in your keys, and everything else is inspect inspect inspect…. It sounds like a rip off from what I see, but I had to ask. I have an independent shop we have been using for years that is Toyota/lexus/Hyundai/etc and they always had very fair pricing for work actually performed.
Thanks!

Respect the Doctor

🎵

"Bit of adrenaline, dash of outrage, and a hint of panic knitted my brain back together. I know exactly who I am. I'm the Doctor. Sorting out fair play across the universe. Now please. Get off this planet while you still have a choice."

So you've come to see my respect thread? mmmm I love respect threads. In fact, I invented them right after 4 slice toasters. So... where was I? Oh, that's right. Me. Doctor, the Doctor. I was born on this little planet on the Constellation of Kasterborous... or was I? Things get a bit complicated there... where I came from or who I am. I've been lots of people, some of them I don't even remember. The person reading this might be the Doctor too (?)... Anyway, back on point. The person who I am now is an easy-going travelehigh-speed engineebiscuit-lover. Me and my fam explore the universe in muh good old TARDIS, righting wrongs and chilling like there's no tomorrow (which is a possibility wink-wink). I'm happy to be your bezzie mate if you play nicely, but if not --- well, you'll get an idea if you keep reading. (scronch)

Source Key

Hover over a feat to view its source.

• Doctor Who (2005) series # episode # = S#E#
• Twice Upon A Time = TUAT
• Resolution = R
• Revolution of the Daleks = RotD
• Eve of the Daleks = EotD
• Legend of the Sea Devils = LotSD
• The Power of the Doctor = PotD

Intelligence

Technological Aptitude
Understanding Technology

• Assures the "safe" crash-landing of a spaceship.
• Identifies the futuristic technology used by Krasko as well as their limitations.
• Identifies the various technology stolen by the Skithra.
• Makes correct conclusions about a spacecraft beyond even her level of technology and puts the techno jargon involved into understable terms.
• Identifies the technology at the Sea Devils' base and how it keeps the place airtight under the sea.

Using/Operating Technology

• Works the Tsuranga's touchscreen controls.
• Uses the Thijarians' own transmat locks to keep them out of Umbreen's farm.
• Uses Kerb!am's prototype robot to hack into the system and prevent an act of terrorism.
• Uses an alien space shuttle to distribute the antidote to Praxeus all over Earth.
• Operates a ship's computer using harp controls.
• Pilots a cyberfighter which uses an unothrodox control scheme.
• Uses a 1960's brain scan device to stun some Weeping Angels.
• Pilots a Lupari ship.
• Uses the Master's TARDIS to bring his cyber-conversion planet to 2022 and thwart his plan to erupt all of Earth's volcanos by converting the lava into steel.

Building Technology

• Crafts her own sonic screwdriver out of Stenza technology and spoons.
• Builds a transport pod out of various electronics to send her to the TARDIS, only to end up sending her companions and herself into outer space because the TARDIS had relocated to a planet out of orbit.
• Builds an ionic membrane from scratch and claims she could make a human out of crayons and half a can of spam.
• Rigs up a cloaking bypass in a minute to access to the Orb of Thassor's data.
• Helps Nikola Tesla finish Wardenclyffe Tower so they could use it to banish the Skithra from Earth.
• Rigs up a CCTV out of a 1960's television and some odds and ends found in her pockets.

Modifying Technology

• Reboots Ryan's phone into a tracking device.
• Reprograms the Master's Kasaarvin-summoning device to shut down when it detects the Kasaarvin.
• Thwarts the Sea Devils by rigging their power core to implode.

Disabling Technology

• Stuns the Gathering Coil with a loose cable upon first seeing it then stuns it again later by overloading its sockets with a more elaborate setup.
• Deactivates a group of self-rebooting sniperbots using an EMP found inside of the destroyed bots.
• Disables the security system inside Karvanista's ship using the Hopper virus.
• Teaches Victorian soldiers to sabotage the Sontarans' life support systems.
• Deactivates a space train's electromagnets to make a group of CyberMasters float away.

Repairing Technology

• Tunes up the TARDIS' wiring in her spare time.
• Figures out how to repair a transport pod by mutating a necessary fuel source.
• Fixes Vinder's ship in a hurry.

Computing

• Decrypts an obscure alien code from an interdimensional species.
• Hacks the guest list of Daniel Barton's party to get invites.
• Types up a debug script in an alien dialect to neutralize the Hopper virus.

Observation

• Recognizes that a tent is holographic upon first glance.
• Recognizes that a building's life support systems have been disabled from the noises heard.
• Can tell what setting Krasko's temporal displacer is on from behind her back.
• Identifies Krasko as a former prisoner of the Stormcage Containment Facility from a wrist tattoo.
• Sees the connection between a series of spider-related incidents occuring all over Sheffield.
• Realizes that the hospital she's being treated at is a spaceship from the vibrations present. Though her wooziness causes her to take a while to figure this out.
• Reaches multiple conclusions about the mud zombies from observing one.
• Notices that something is up with a random house seen from afar.
• Notices that there's another person present with Erik when he claims otherwise.
• Roughly guesses the century she's been transported to while recovering from a daze.
• Points out that a "linen cupboard" is not really a linen cupbard.
• Discovers a secret tunnel that the current homeowner was not aware of.

Deduction

• Exposes Tzim-Sha as a cheat.
• Figures out why Krasko uses non-hostile means to prevent the Montgomery bus boycott.
• Realizes what the P'ting's intention is by hijacking Tsuranga.
• Figures out that Becka Savage is infected with an alien creature.
• Discovers that a ducking stool is a piece of alien technology.
• Realizes that the dimension she entered is a Solitract by remembering a bedtime story from childhood.
• Realizes that the Recon Dalek mutant is revived by ultraviolet light and recalls this fact when it's used again to send a bunch of them into their casings.
• Forces the Master to give up his ruse when she notices a discrepancy between his words and the information she read about the man he's impersonating.
• Works out the Kasaavin's grand scheme.
• Learns about the Dreg's capabilities from the measures taken against them.
• Discovers the key to destroying the CyberMasters from something uttered by the Lone Cyberman.
• Deduces that they have ended up in the middle of the Crimean War.
• Gets interrogated by the Grand Serpent and manages to learn more about him than he does about her.
• Figures out the Sontaran's strategy against the Daleks and Cybermen.
• Deduces what the Sea Devils' ultimate goal is.

Persuasion, Trickery & Manipulation

• Gives Ryan some moral support to overcome his dyspraxia.
• Gets information from Rosa Parks by pretending to be a market researcher.
• Negotiates with an untrustworthy alien.
• Encourages her companions to reject the Solitract's allure before convincing the Solitract itself to release her.
• Coaxes Paltraki into trusting her after his mind was disturbed by psychotropic waves.
• Uses Noor Inayat Khan to frame the Master as a double agent to the Nazis.
• Forces the Alpha Dreg to let her and Bella go using its dependency on carbon dioxide.
• Tricks the Skithra Queen into holding a teleportation device.
• Posing as an imperial regulator, she negotiates with a Judoon captain using both real and made-up legal jargon.
• Helps Tahira conquer her fear so she can control her nightmare monster.
• Defeats the Death Squad Daleks by luring them into what appears to be her TARDIS, only to reveal that it's another TARDIS which she has rigged to self-destruct with them inside.
• Persuades an Ood to go against his superior's wishes and help her.
• Uses a Sontaran commander's obsession with human snacks to get two allies onto the Sontaran ship.
• Lures a Sea Devil into a trap.
• Fails to convince King James that she's not a witch, but likely sows enough doubt in his mind to prematurely end her trial.

Resourcefulness

• Destroys the Remnants by igniting a cigar in a field of acetylene.
• Isolates a giant spider using vinegar and garlic.
• Alleges she used spider web to stop a plane in flight with Amelia Earheart.
• Contains a swarm of giant spiders by luring them into a panic room using the vibrations of loud music.
• Kills two birds with one stone by feeding the P'ting the Tsuranga's bomb, thereby sating its hunger for energy and containing the explosion.
• Puts together a chemistry set on a Punjabi farm in the 1940's to analyze a sample her sonic couldn't.
• Uses peanut butter as a mechanical lubricant.
• Uses a car's rear-view mirror to reflect a deadly laser.
• Forms a circle of fire out of the chemicals in Thomas Edison's factory.

Medical

• Diagnoses General Cicero with Pilot's Heart.
• Can identify the exact cause of death of victims of alien attacks through a quick examination.
• Treats Ryan for the Hopper virus the moment he contracts it.
• Leads a team to develop a cure for Praxeus.
• Can't help Graham with his cancer worries because of... um, social awkwardness(?).

Planning & Strategy

• Places instructions onto Barton's plane in the past to help her companions pilot it in the present when it almost crashes. Her prediction of their responses is so accurate it makes the recording she left resemble a live conversation.
• Gets rid of the Defense Drone Daleks by summoning the Death Squad Daleks to wipe them out, knowing they would prioritize eradicating "impure" Daleks over harming humans.
• Quickly devises a formation for the Lupari ships to successfully defend Earth from the Flux.
• Hijacks the Sontarans' plot to eliminate the Daleks and the Cybermen using the Flux to get rid of all three forces at once.
• Comes up with a plan to break a time loop and dispose of the Daleks pursuing them at the same time.

Miscellaneous Skills

• Uses Venusian Aikido to temporarily paralyze or render humanoids unconscious.
• Translates an alien language without the TARDIS.
• Claims she is a doctor of many things.
• Thanks to Harry Houdini, she single-handedly escapes when chained to a ducking stool and submerged in cold water.
• Impractically summons her sonic screwdriver from her coat pocket into her hand with both arms tied.
• Tails a Sontaran without being spotted.
• Thinks at such a fast rate her surroundings appear slowed while inner-monologuing.
• Sword-fights handedly with a Sea Devil.

Mental Abilities

Mental Resistance & Willpower

• Quickly overcomes of the nightmare-inducing power of Zellin.
• Identifies a perception filter and instructs a group of humans to move past it.
• Breaks out of the Matrix by overloading it with the memories (stock footage) of her past lives.

Mind Reading & Communication

• Communicates with the Master over a long distance.
• Looks into a Dreg's mind to learn their origin.
• Shows Commander Gatt the future of Gallifrey.
• Looks into Percy Shelley's mind so she can learn something his mental state prevents him from telling her.
• Attempts to locate the Master by linking with his mind, however he senses this and misleads her in response.
• Enters Claire's mental space to communicate with the Weeping Angel inhabiting her mind.
• After being split thrice, the three Doctors network with each other.

Mind Manipulation

• Wipes Noor Inayat Khan's and Ada Lovelace's memories of her.
• Performs an "Old Time Lord Trick" on Percy Shelley to extract the Cyberium from him; mentally simulating his death to trick the Cyberium into leaving its host.

Sensing & Feeling

• Receives the Thijarians' telepathic message, though it is painful for her.
• Senses the Kasaavin approaching even though the sonic can't detect them.
• Gets a vibe of unrelenting evil in Villa Diodati.
• Sees and feels the universe breaking down from the Flux.
• Finds her biomodule from hearing it reach out to her - a noise that an Ood (a telepathic being) could not hear.
• Feels that the time loop they're trapped in is shortening with each loop.

Other

• Like all Time Lords, the secret of the Timeless Child hides deep in her memories.
• When made to relive a past event as the Fugitive Doctor, she converses with her past self after seeing the physical difference in the mirror.
• After the Master hijacks her regenerations, the Doctor's mind enters a subconscious plane where she is met by manifestations of her past incarnations. They inform her that even though her body has changed, the forced regeneration has not yet passed its threshold and can still be reversed.

Physical Attributes

Strength

• Frees an elderly woman chained to a ducking stool then drags her out of the water.
• Pushes one end of a ducking stool from a lake.
• Keeps a Skithran from busting through a door.
• Keeps both her companions from drifting away in space.

Speed & Agility

• Leaps from one crane to another.
• Strategically avoids being shot by robot drones as she flees the area.
• Avoids Dalek blasts at point-blank range and rolls into cover.
• Draws that same Dalek's fire so her companions can close in on it.
• Ducks under a close-range laser blast.
• Sidesteps a shot from a Silurian blaster.
• Ducks under a trio of swarming Cyberdrones.
• Flips herself upside-down to right-side up onto a gravity bar, utilizing tricks she learnt at a high-gravity workshop.
• Moves fast enough to pull her companions and herself into the center of the Time Force before Swarm could vaporize Yaz.
• Dodges lasers from behind the moment she enters the area.
• Ducks under sudden Dalek blasts from behind.
• Does a front-flip while avoiding a Sea Devil's sword swipes.
• Steps away from the energy blast of a CyberMaster that just transmatted in.
• Avoids blasts from multiple CyberMasters as she flees into the TARDIS.
• Dodges a close-range Dalek blast.

Durability

• Remains in good spirits when an electric shock violently shoves her backwards (thought this likely due to her post-regeneration rush).
• Recovers from the vacuum of space faster than her human companions.
• Tries to hold back an explosion big enough to take out an airplane's cockpit with only its door to shield her.
• Travels in warp drive without adverse effects.
• Her biology can withstand the Time Force that would be overwhelming for humans, allowing her to briefly jump into Dan and Yaz's timestreams. However, the pressure would eventually kill her.

Senses

• Feels the DNA bombs in her collarbone that none of her companions notice.
• Determines that they've landed in Norway by tasting the grass.
• Discovers an alpaca farm 25 miles away by tasting the soil.
• Determines the century a skeleton originates from by tasting its boney powder.
• Tastes the residue of a stun cube used by the Lupari.
• Incorrectly deduces the decade from sniffing a man's coat, noting he must have owned it for a while.

Regeneration
Time Lords can survive fatal injuries through the process of regeneration whereupon every cell in their body is rewritten, radically transforming their appearance and personality. This regeneration produced some interesting changes...

• This ability is restricted to 12 regenerations across 13 incarnations. Due to the Doctor gaining a second regeneration cycle and the whole Timeless Children revelation, this limit might no longer be in play.
• Excess regeneration energy affords a Time Lord a degree of invulnerability within the first few hours of their regeneration. The newly-regenerated Thirteenth Doctor fell from her airbourne TARDIS in the stratosphere down to a nearby train, crashing through its roof and getting up completely fine.
• Side-effects following regeneraiton include memory loss, fainting and slowed movement.
• The Master uses a machine to force her to regenerate into him so he could go around the universe causing destruction in the Doctor's name. This process was reversed shortly after using the regeneration energy from his CyberMasters.
• Regeneration can be temporarily delayed without suffering negative effects, which the Thirteenth Doctor did for a little while to eat ice cream.
• The Thirteenth Doctor's regeneration into the Fourteenth Doctor was unique from past regenerations in two respects; firstly being that this form strongely resembled her Tenth incarnation instead of a totally new body and secondly in that it also changed the Doctor's clothing (the only other time this happened was the First Doctor's regeneration into the Second).

Miscellaneous Time Lord Biology

• Has two hearts and therefore two pulses.
• Has a much longer lifespan than humans. In this body, she spent several decades imprisoned without visibly aging.
• The Cyberium chooses her as a host over the Lone Cyberman.

Equipment

Get the full rundown of the TARDIS and Sonic Screwdriver in the comments

Psychic Paper
The psychic paper is a blank piece of paper that telepathically projects the Doctor's thoughts into the eyes of whom she presents it to.

• Poses as a crisis investigator to get answers from Jack Robertson.
• Gains employment at Kerb!am by presenting fake references.
• Seizes control of a witch hunt by posing as a Witchfinder General.
• Gain access to Tranquility Spa's command centre by posing as a Pan-Galactic Standards and Practices officer with several areas of expertise under her belt.
• Claims to be part of the Institute of Psychic Investigation to intervene in Professor Jericho's psychic experiments.
• Claims to be members of the local council when investigating a storage facility.
• Gives Ryan and Graham their own psychic papers so they can continue investigating strange goings-ons without her.
• Fails to pass her off as the Witchfinder General to King James due to his sexism so she is instead designated the Witchfinder's Assistant.
• Doesn't work when wet.

Futuristic Technology

• Makes her companions scour a junk planet for spare part using modified metal detectors.
• Gains a comm dot at Tsuranga which she and her companions use on another occasion.
• Uses neural balancers so she and her companions can enter the planet Ranskoor Av Kolos without succumbing to its psychotrophic waves. She later uses them to block the Ux's psychic signal.
• Prepares communicators, codebreakers, trackers, grenades and a remote-detonated bomb during their visit of Ranskoor Av Kolos.
• Gives a woman some medicine to help her recover from Dalek possession.
• Wears an O2 cannister when forced to brave Orphan 55's hostile environment.
• Uses a Braxium Bouncer Mk III to teleport herself, Yaz and Nikola Tesla out of the Skithra's spaceship and then later to send the Skithra Queen back inside the ship.
• Uses a device to take an instant blood sample from a Praxeus patient.
• Carries a flip phone (presumably boosted by the sonic) to contact her companions across time and space.
• In their fight against the Cyberman, she equips her companions with technology that unsuppress the Cybermen's emotions, project gold particles which Cybermen are allergic to and generate forcefields.
• Attacks the Lone Cyberman with a grenade.
• Owns a pair of voice-activated handcuffs, but they aren't very responsive as they were likely set up by a past incarnation.
• Hands Vinder a communicator with a direct line to the TARDIS.
• Owns at few copies of the orange spacesuit she acquired in her Tenth incarnation.
• Places a small device on a Dalek traitor's casing to extract the information about its race's plans.
• Leaves Yaz a device which projects a recorded adaptive hologram of the Doctor to give her guidance after two weeks of no contact. The hologram was later upgraded into a fully-interactive AI made from the Doctor's data collected over thousands of years which only activates during the gravest of emergencies. The Doctor imprinted this AI onto Yaz, Tegan and Ace via sonically-triggered nano-implants resembling static electricity.
  • This hologram can perceive its surroundings through the ocular nerves of the Doctor's companions.
  • The hologram is predictably intangible so lasers harmlessly pass through it. The CyberMasters were also unable to recognize it as a hologram.
  • The hologram's interface will inadvertently change according to the emotional memory of who it's addressing in the moment, causing it to resemble past Doctors to past companions like the Fifth to Tegan Jovanka and the Seventh to Ace. It also willingly assumed the form of the Fugitive Doctor to fool the Master even though her history is shrouded in mystery.

Mundane Items

• Lends Graham a pair of sunglasses she got from either Audrey Hepburn or Pythagoras.
• Writes with a special marker pen that can be concealed by the sonic.
• Uses a stethoscope to auscultate people and places.
• Uses chalk to write up a message for her companions without letting a blind girl know.
• Unravels some string so they don't get lost in the Anti-zone.
• Gives Ryan a ginger humbug to help him recover from motion sickness.
• Hits a Sontaran's probic vent with a slingshot.

Miscellaneous

• Opposes the use of firearms, even against robots and mutant spiders, but is fine with using explosives to take out structures.
• Has Elvis' phone number.
• Strongly implied that she's the mysterious street artist Banksy.
• Featured in a whole chapter or volume in the Book of Celebrants.
• Officiated Albert Einstein's wedding and Yaz's grandmother's first wedding.
• Claims to have invented wellies.
• Keeps companions around to show off.
• Lord Byron fancied her.
• Was arrested and imprisoned by the Judoon for at least seven thousand offenses. In that time, she recited Harry Potter to entertain herself which really shows how out of the loop she was with human affairs.
• The very notion of meeting the Doctor is enough to convince a stubborn Sontaran to agree to her terms.
• Bit narcissistic.

"She was the universe."

Gotcha!!!! I bet you clicked on this expecting to read some racist things based on the title... Well, not gonna happen, I actually think Halle Bailey is a phenomenal performer and embodies the grace and charms of Ariel amazingly, her race is completely irrelevant to me, so yeah, you've been clickbaited... But I do have some thoughts that may be a little controversial about this new adaptation and I wanna discuss them here, I'm open to all opinions and by no means I think it is a bad movie so any words you wanna throw on the comments are welcome. If you haven't seen the movie, don't read cause it may contain some SPOILERS, I personally haven't seen it but I couldn't care less about SPOILERS so I've listened to the soundtrack, read and saw reviews and actual scenes from it.
Before I dig into explaining why I think this movie is ''Problematic'' I would like to highlight all the positive bits within it so I don't sound like I'm just whining. First, Ariel... Halle Bailey's voice is beautiful, such good control and technique and what an amazing delivery, no wonder why Eric got obsessed with it. Her rendition of Part Of Your World not only does justice to Jodi Benson, it also mastered it in my opinion. Melissa's take on Poor Unfortunate Souls is also amazing, she sounds sassy and compelling and really different to the original which I think was a very nice fresh change. About the lyrics change here, I understand why they did it, I've heard many people making a good point about Ursula obviously lying to Ariel in order to convince her to give out her voice and while I think it is a legit point and I personally don't feel triggered by the old verse that was cut out I also understand how some people may find those words outdated and feel triggered by them, so once more that's not a problem for me, plus it makes the song slightly shorter which can be a good thing considering the original was really long. I know people are gonna kill me for saying this, especially because this is a Musical Theatre subreddit and not a Movie Musicals one so I'm assuming most of you guys will disagree with what I have to say now, but I'll do it anyways cause it is my opinion and that's what I'm sharing... I like Eric's new song ''Wild Uncharted Waters'' better than ''Her Voice'', oops... I said it. I think it serves his character development in a better way as he states his motivations and interests here and it is not just three minutes of him singing about a girl's voice, yeah, I mean he does it too here but at the same time he tells us a little bit about himself. About the hyperrealistic animals... Well... I am not a fan of it and I know I'll have a hard time buying all the emotions those amazing voice actors delivered but at least they didn't do what CATS did... Thankfully.
Now, let's get down to business. There are two small details in this new live action that they added to make the movie more appealing to a contemporary society that I feel actually give a negative message. This may be controversial and if you disagree with me, you're totally allowed to have an opinion, plus I am not from the USA so I am basing this on my country's society. So yeah, all triggering warnings settled, let's shoot: The lyric change in ''Kiss The Girl'', I think it was completely unnecessary, from a musical point of view it doesn't really alter the song's structure but it is the reason why this change was made what I find problematic. The intention is really noble and I do support it, we have to teach kids about consent and that it is not okay to go out and try to kiss anyone because you just assumed they liked you, but the context, think about the context for God's sake, no woman will go on a romantic date with a man they're not interested in (Well, maybe they will, I don't know, I'm not a woman, you tell me if I'm wrong) and from my personal experiences and my friends' and I could use the story of my first date with my current girlfriend to back me up, women get really turned off when a man asks permission to kiss them. If you ask her ''Can I kiss you?'' or something like that, you're most likely gonna be rejected. So what are we doing now? Making an incels factory song? Teaching boys how to be rejected so they end up hating women after failing for the 100th time? Plus it is just a kiss, I certainly doubt any decent man will use his physically superior strength to immobilize a woman so he can kiss her, if she doesn't want to be kissed, she can throw her head back and that's it, if he gets offended, well, he was just a shitty person to start then, but any decent man would just apology and change the subject. And again, it is just a kiss, we should definitely teach kids about consent but there are more ways to consent and ask for it than just using words, also this is a very delicate subject and its importance relies on actual important things like rape, by changing these lyrics because of it gives me that unpleasant vibe that I'm scared to speak up about because of the potential answers attacking me, which is ''Nowadays people get offended about anything...''
The other change that really annoyed me... And this one actually made me lose interest to watch it was the change in the fight with Ursula... If you watched the film, you know what I'm talking about, now it is Ariel who takes on the wheel and directs the ship impaling Ursula. I am all down for female representation and empowering but I feel like this change rather than doing this, what it does is destroy Eric's character. I know the original animated Little Mermaid is the first Disney film from their renaissance because it settled the standard for what direction Disney was going from that date and I recently rewatched it again and believe me, I am surprised of how feminist this film actually is, maybe not in the same way as Brave (another film I adore) which shows a warrior woman who is not interested in stereotypically girly things but not because of that she is less of a woman than any other. But let's break down The Little Mermaid and see why I consider it feminist. The whole story is about a woman breaking the rules and not just submitting silently to what a man (her father) tells her to do. She is curious, she has doubts and questions, she is brave and determined and she makes her own decisions which weren't the best but again she was naive and immature that's plausible. I believe its original message was that you shouldn't be scared to make mistakes and fight for what you want. Before you all shoot by saying she changed herself for a man... Let's remember that Ariel was fascinated by the human world way before she saw Eric, she had a collection of human objects and was constantly going to the surface to ask Scuttle about the life on land. Eric is a love interest and yes, he may be the motivation behind her determination to become human but there were so many emotions already swimming around her head that helped her make that decision, think about ''Part Of Your World'' the whole song is about her longing to be human and she never mentions Eric on it and by the way, people in general have always been doing stupid things for love. So yes, it's about following your dreams and doing what it takes, of course there are gonna be consequences, but you just fix it and stand up, that's an universally appealing message valid for any human being, true, but the delivery is way stronger when it is played by a female as so many decades of misogyny have indoctrinated women into just doing as they're told and not question anything. With all that stated you'd be wondering why does this small detail annoys me as I completely support feminist representation... Because it doesn't add anything to Ariel's character, besides it is completely unrealistic. Are we ignoring the fact that she saved Eric from drowning? She was already a hero in her own movie. I never thought Ariel was a damsel in distress and the original finale serves to make Eric a deeper character because throughout the whole film we barely get to know anything about him, it is also a way to redeem humans, showing Triton that not all humans are bad, and yes, it was epic and heroic and maybe I like it because I'm a boy and I wanna relate to a male hero but I never thought it was a ''Women need to be saved by men'' trope, correct me if I'm wrong.

How to Build an Impressive Resume in 2023: Tips and Tricks
Building an impressive resume is a crucial step in securing your dream job. In today's competitive job market, having a well-crafted resume can make all the difference. A resume serves as your introduction to potential employers, highlighting your skills, qualifications, and experiences. In this article, we will provide you with valuable tips and tricks to help you create an outstanding resume that stands out from the crowd.
Introduction
In the fast-paced world of 2023, the job search process has evolved significantly. Employers receive hundreds of resumes for each job opening, making it essential to make your application stand out. An impressive resume not only showcases your qualifications but also demonstrates your professionalism and suitability for the role. Let's dive into the key elements that will make your resume shine.
The Importance of a Well-Crafted Resume
A well-crafted resume is your ticket to securing job interviews. It acts as your personal marketing tool, presenting your skills, experiences, and achievements to potential employers. A compelling resume helps you make a positive first impression and sets you apart from other candidates. It should effectively communicate your qualifications and convince employers that you are the ideal fit for the role.
Understanding the Hiring Process in 2023
Before diving into resume building tips, it's crucial to understand the modern hiring process. Many companies now use applicant tracking systems (ATS) to streamline the screening process. ATS scans resumes for specific keywords and filters out those that don't meet the criteria. Therefore, tailoring your resume to match the job description is essential to increase your chances of getting noticed.
Key Elements of an Impressive Resume

1. Contact Information: Include your name, phone number, email address, and LinkedIn profile (if applicable). Make sure your contact details are up to date and easily accessible.
   
2. Professional Summary/Objective: Craft a concise and impactful summary that highlights your key qualifications and career goals.
   
3. Work Experience: List your previous work experience in reverse chronological order, emphasizing relevant positions and achievements.
   
4. Education: Mention your educational background, including degrees, certifications, and relevant coursework.
   
5. Skills: Showcase your relevant skills, both technical and soft, that align with the job requirements.
   
6. Achievements and Awards: Highlight any notable achievements or awards that demonstrate your capabilities and dedication.
   
7. Certifications and Training: Include any certifications or training programs that enhance your qualifications for the desired role.
   
8. References: Optionally provide references or state that they are available upon request.
   

Formatting and Design Tips
To make your resume visually appealing and easy to read, consider the following tips:

1. Choose a Clean and Professional Layout: Opt for a simple and modern layout that allows your content to stand out.
   
2. Use Appropriate Fonts and Font Sizes: Stick to standard fonts like Arial, Calibri, or Times New Roman in a readable size (10-12 points).
   
3. Organize Sections with Headings and Subheadings: Use clear headings and subheadings to divide your resume into easily navigable sections.
   
4. Utilize Bulleted Lists and Consistent Formatting: Use bullet points to highlight key responsibilities and achievements. Maintain consistent formatting throughout your resume.
   

Tailoring Your Resume to the Job
Each job application is unique, and tailoring your resume to match the specific requirements is crucial. Analyze the job description and identify the key skills, experiences, and qualifications the employer is seeking. Then, customize your resume to emphasize the most relevant information that aligns with the job requirements. This will demonstrate your suitability and increase your chances of being selected for an interview.
Keywords and ATS Optimization
In today's digital age, keywords play a vital role in resume optimization. Here are some tips to ensure your resume gets past the ATS:

1. Research Industry-Specific Keywords: Identify relevant keywords by researching the industry and job position you're targeting.
   
2. Incorporate Keywords Throughout Your Resume: Integrate these keywords naturally into your resume's content, including the summary, skills, and work experience sections.
   
3. Understanding Applicant Tracking Systems (ATS): Familiarize yourself with how ATS works and how it scans and filters resumes.
   
4. Formatting Your Resume for ATS Compatibility: Use standard fonts, avoid graphics or complex formatting, and save your resume in a compatible file format (e.g., PDF or Word) to ensure proper parsing by ATS.
   

Showcasing Achievements and Results
To make your resume more impactful, focus on highlighting your achievements and results:

1. Quantify Your Accomplishments: Whenever possible, use numbers, percentages, or other quantifiable metrics to showcase your accomplishments.
   
2. Focus on Impact and Results: Describe how your actions and contributions made a positive impact on previous employers or projects.
   
3. Use Action Verbs to Describe Responsibilities: Begin bullet points with action verbs to convey your responsibilities and achievements more effectively.
   

Highlighting Transferable Skills
Transferable skills are valuable assets that can be applied across various roles and industries. Emphasize your transferable skills to demonstrate your versatility and adaptability. Skills like communication, problem-solving, teamwork, and leadership are highly sought after by employers.
Proofreading and Editing
To ensure your resume is error-free and professional:

1. Proofread Carefully: Check for grammar, spelling, and punctuation errors. Read your resume aloud or ask someone else to review it for you.
   
2. Edit for Clarity and Conciseness: Eliminate any unnecessary or repetitive information and focus on conveying your qualifications concisely.
   

Seeking Feedback and Professional Assistance
Getting feedback from others can provide valuable insights into areas for improvement. Share your resume with trusted friends, mentors, or professionals in your field to gather feedback and suggestions for enhancement. Additionally, consider seeking assistance from professional resume writers who specialize in crafting compelling resumes.
Online Resources for Resume Building
Take advantage of online resources that can aid you in building an impressive resume. Websites, career blogs, and professional networking platforms offer valuable tips, templates, and examples that can guide you through the resume creation process. Leverage these resources to ensure your resume is up to date with the latest industry trends and best practices.
Top 5 online Resources for Resume Building:

1. LinkedIn: LinkedIn is a powerful professional networking platform that offers more than just networking opportunities. It provides a range of resources for resume building, including resume templates, tips, and examples. You can also showcase your skills, experiences, and achievements on your LinkedIn profile, making it a great platform for employers to discover your talents.
   
2. CV-Library: CV-Library is a popular job board that not only allows you to search for job opportunities but also provides a dedicated section for resume building. It offers a variety of resume templates and samples across different industries and professions. Additionally, CV-Library offers expert advice on creating an effective resume that stands out to employers.
   
3. MyPerfectResume: MyPerfectResume is an online resume builder that offers a user-friendly interface and a wide range of customizable resume templates. It provides step-by-step guidance in creating a professional resume tailored to your industry and career level. MyPerfectResume also offers additional features like cover letter building and interview preparation resources.
   
4. CareerOneStop: CareerOneStop, sponsored by the U.S. Department of Labor, is a comprehensive career development website that offers various tools and resources, including a resume guide. It provides tips on resume writing, formatting, and content organization. CareerOneStop also offers a resume builder tool that allows you to create and download your resume in different formats.
   
5. Novorésumé: Novorésumé is an online platform that offers visually appealing and modern resume templates. It provides a simple and intuitive interface for building and customizing your resume. Novorésumé also offers valuable content and tips on resume writing, cover letters, and job search strategies to help you stand out in today's competitive job market.
   

Remember to choose the online resource that aligns with your specific needs and preferences. These platforms can provide valuable guidance, templates, and examples to help you create a professional and impressive resume.
Keeping Up with the Latest Trends
The job market is constantly evolving, and it's essential to stay updated with the latest trends. Keep an eye on industry-specific advancements, new technologies, and emerging skills that are in high demand. Stay proactive in your career development to ensure your resume remains relevant and competitive.
Conclusion
Crafting an impressive resume requires careful consideration and attention to detail. By following the tips and tricks outlined in this article, you can create a standout resume that catches the attention of potential employers. Remember to tailor your resume to each job application, optimize it for applicant tracking systems, and showcase your achievements and transferable skills. With a compelling resume in hand, you'll be well-equipped to navigate the job search process in 2023 and land your desired role.
FAQs

1. Should I include a cover letter along with my resume? Including a cover letter is recommended as it allows you to introduce yourself and express your interest in the position. It provides an opportunity to highlight specific qualifications and tailor your application to the company's needs.
   
2. Is it necessary to limit my resume to one page? While it's ideal to keep your resume concise, there's no strict rule about limiting it to one page. Focus on including relevant information and ensuring readability. If you have extensive experience or qualifications, a two-page resume may be acceptable.
   
3. Should I include references on my resume? Unless specifically requested, it's not necessary to include references on your resume. Instead, mention that references are available upon request. Be prepared to provide references when requested during the later stages of the hiring process.
   
4. Can I use a creative or unconventional resume format? While creative formats can be eye-catching, it's essential to strike a balance between creativity and professionalism. If you're applying for a creative role, a unique format may be more suitable. However, for most industries, it's best to stick to a clean and professional format that prioritizes clarity and readability.
   
5. How often should I update my resume? It's a good practice to update your resume regularly, especially when you acquire new skills, complete significant projects, or change job positions. Keeping your resume up to date ensures that you're prepared for new opportunities that may arise at any time.
   

Rookie Performance Evaluation 4

With so many players in the MLB, some of the newest players get lost behind some of the high profile names. We are here today to evaluate every rookie who has played this year and highlight the top performances of the last two weeks and for the entire year. This week Josh Jung murdered some baseballs, Grant Anderson struck out seven in his debut out of the bullpen, and Bobby Miller shut down the Braves (and Nats).

Top Bi-Weekly Performances

American League:

1. Josh Jung (TEX 3B): Josh Jung continues to dominate at the plate, winning back to back AL rookie of the month awards in April and May. Josh Jung ended the month of May by slugging for 5 doubles, 1 triple and 4 home runs. Jung leads all third baseman in runs and batting average and leads all rookie batters in runs (4), hits (61), home runs (12), and RBIs (37). In his last 10 games, Jung had 9 extra base hits. Offensively, Jung is already worth 2 WAR and has only gotten better throughout the year. Jung sees the ball well, hitting 50.5% over 95 mph (top 90% in the league) and has been able to barrel 12.2% of pitches seen (top 81% in the league). Defensively Josh Jung is in the bottom half of 3rd baseman, having negative -2 defensive runs saved and -1 outs above average. Despite his below average defense, Josh Jung has been one of the best third baseman in the majors all season.
2. Masataka Yoshida (BOS LF): The Japanese superstar is doing all he can to keep the Red Sox afloat. Yoshida continues his hot streak, batting .348/.412/.500 in the the last 15 days. After a somewhat slow start to the season, Yoshida has emerged as one of the two big favorites for AL rookie of the year (along with Josh Jung). Yoshida still only has 21 strikeouts and walks on the year through 48 games on the season. Yoshida will put the ball in play and will rarely kill a batting rally with a strikeout. He hardly chases the ball and is top in the league on whiff rate. Yoshida has adapted to MLB pitching very quickly and will remain a superstar for years to come.
3. Logan Allen (CLE SP): The Guardians have a loaded starting pitching staff with the return of Aaron Civale and Triston McKenzie. Logan Allen, along with rookies Tanner Bibee, Hunter Gaddis, and Peyton Battenfield, has shined in the starting rotation. Allen had his best game of the season, going 7 innings against the Baltimore Orioles allowing only 3 hits, no earned runs, and striking out 10. Through 7 starts in the year. In his last three starts, Allen has only allowed 4 earned runs through 18.2 innings. Of the four rookie starting pitchers for Cleveland, Allen has pitched the most innings (39.2) and holds the lowest ERA (2.72). Allen’s next start is scheduled on June 3rd against the Minnesota Twins.
4. Louie Varland (MIN SP): Varland pitched seven shutout innings against the Houston Astros. Varland has pitched back-to-back quality starts in 4 of his last five starts. The only game Varland did not get a quality start was against the Angels, where he gave up only 2 earned runs in 5 innings. Varland primarily throws a 4-seam (42%) and cutter (30%) and goes to his slider (12%) and changeup (12%) to put batters away. Varland hardly walks batters but gives up a lot of hard contact. Nonetheless Varland has pitched effectively, limiting the damage done in most games he has started. Varland's next start is projected to be on June 6th against the Tampa Bay Rays.
5. Ryan Noda (OAK 1B): Ryan Noda powered a three-run home run to snap the Athletic’s 11-game losing streak. In the last 15 games, Noda has batted .256 with 3 home runs and 3 doubles on 11 hits. Noda hits 48.2% of balls 95 mph or higher and barrels 16.9% of pitches. Despite this, Noda ranks in the bottom percentile in whiff rate. Noda whiffs on 36% of fast balls, 42% in breaking balls, and 38% of offspeed pitches. Noda has struck out in 33% of his plate appearances (61 strikeout total) but simultaneously ranks in the top percentile in walks taken (35 walks total).
6. Zach Neto (LAA SS): Despite all the preseason hype for Anthony Volpe and Gunnar Henderson, Zach Neto has quietly emerged as the most consistent bat for rookie AL shortstops. Only 22 years old, Neto was the first player from the 2022 MLB draft to make the majors. Defensively, Neto has been steller. In 44 games, Neto has already racked up .8 defensive war and has generated 2 more outs above average than other shortstops. In the last 15 days, Neto has 11 hits with 4 doubles and a home run. Neto had small injury scare against the Marlins with a finger contusion, but has already made it back into the starting lineup.
7. Grant Anderson (TEX RP): Grant Anderson has only played in one game this season but I figured he deserved a special shoutout. In his major league debut, Anderson pitched 2 and 2/3rd innings out of the bullpen striking out 7 of the 9 batters. Anderson only gave up one hit and earned the win against the Detroit Tigers.

Pitchers	W / L	GS	ERA	IP	SO	BB	H / R / ER	HR	WHIP	HBP	GDP
Allen, Logan	1 - 1	7	2.72	39.2	43	11	41 / 13 / 12	3	1.31	0	1
Varland, Louie	1 - 0	7	3.51	41	39	8	39 / 16 / 16	9	1.15	1	2
Batter	Team	Games	At Bats	AVG/OBP/SLG	HR	RBI	SB / CS	SO/BB	2B / 3B / HR	Off WAR	Def WAR
Jung, Josh	TEX (3B)	52	207	.295/.341/.531	40	37	1 / 2	63K / 14BB	11 / 1 / 12	2	0.3
Yoshida, Masataka	BOS (LF)	48	186	.312/.389/.500	26	31	3 / 0	21K / 21BB	12 / 1 / 7	1.1	-0.6
Neto, Zach	LAA (SS)	44	147	.245/.319.374	15	18	3 / 0	32K / 7BB	6 / 0 / 6	1.2	0.8
Noda, Ryan	OAK (1B)	53	143	.231/.393/.448	28	19	2 / 1	61K / 35BB	11 / 1 / 6	1.3	-0.1​
Relief Pitcher	G	W - L	ERA	IP	SV / SVO	SO / BB	WHIP	H / R / ER	HR	GDP	HLD
Anderson, Grant	1	1 - 0	0	2.2	0 / 0	7K / 0BB	0.38	1 / 0 / 0	0	0	0​

National League:

1. Bobby Miller (LAD SP): The Dodgers #2 prospect has done nothing but impress. In his first two starts on the season, Miller has posted a 1.64 ERA through 11 innings. Miller equally throws a sinker, changeup, slider, and 4-seam fastball. On his fastball, Miller averages 99 mph on his sinkers and 4-seam and sometimes will go to his curveball to strike out batters. In his debut, Miller went 5 innings and only one earned run on 4 hits against the Atlanta Braves. He followed his debut by going 6 innings, allowing only 1 earned run on four hits. Bobby Miller's next scheduled start is June 4th against the New York Yankees.
2. Spencer Steer (CIN 3B): Spencer Steer uses every side of the field. In the last 15 days, Steer has batted .389/.424/.667 with 4 doubles, one triple, and three home runs. Steer currently leads NL rookies in hits (59), RBIs (T28 with Outman), and doubles (T15 with Tovar). Steer has recently returned to his 2022 self hitting 8 home runs on the season and putting the ball consistently in play. Steer has struggled greatly defensively with -8 outs above average at both first and third base and generating -.4 WAR on the season. He ranks in the bottom 1% of outs above average and, when fielding, is completely 7% of plays as expected at both first base and third base. Despite these struggles, Steer’s production at the plate has lead him to be named the National League Rookie of the month for May.
3. Matt McLain (CIN SS): The Red’s #5 prospect made his major league debut after TJ Friedl was moved to the 10-day injured list . In the last 15 days, McLain has the most at bats (57), hits (T21 Steer) and runs (T11 Steer) in the National League. McLain won this week’s player of week and continues to bat .329/.390/.486 in 16 games. McLain is primarily causing damage against fastballs and breaking balls, batting over .400 on such pitches. Defensively, McLain has been stellar. In only 16 games, he has generated 2 outs above average at shortstop and has added 5% success rate at the position off 43 attempts. If McLain can continue his success at the plate, along with fellow ROY contender Spencer Steer, then they can help Cincinnati compete for a relatively week NL Central division (who knows what may happen if the Reds call up fellow shortstop Elly de la Cruz).
4. Corbin Carroll (ARZ LF): Corbin Carroll continues to impress and at this point I feel like I am repeating myself. The 22 year old left-fielder has power, defense, and speed. Carroll has helped the Diamondbacks to take control (or at least tie) in the National League West. In the past 15 days, Carroll has slugged for 4 doubles and three home runs on 15 hits. He leads the national league in stolen bases and has a real shot at joining the 20 / 20 club as a rookie. On the year, Carroll’s slash line is .287/.372/.516. Of all rookies, Corbin Carroll leads in WAR, already accumulating 2.1 on offense. On the defensive side of the ball, Carrol has generated 2 outs above average and has added 2% to the expected fielding average in left field. Expect to see Carroll on these lists for the rest of the season.
5. Patrick Bailey (SF C): Joey Bart was thought to be the replacement at catcher for the San Francisco after the departure of Buster Posey. With everyone’s focus on Bart, Bailey went under the radar. In 11 games, Bailey has batted .333/.350/.564 with 12 hits, of which 3 were doubles and 2 were home runs. In the minor’s. Bailey was praised for his framing abilities behind the plate. If Bailey can continue his success at the plate, San Francisco may be posed well at the catcher position for years to come.
6. Will Brennan (CLE RF) - Although he is not a batter that consistently hits the ball hard, Will Brennan, in the last 15 days, has 12 hits in 12 games including 3 doubles and 1 home run.. He is batting .364/.400/.515 and has been reliable at the plate when batters are at first base. Brennan has a batting average of .318 with a runner at 1st (23 plate appearances) and batting .500 with runners at 1st and 2nd (6 plate appearances). Though Will Brennan did kill a bird on a ground-ball single last week. So… he has that going against him.

Pitchers	W / L	GS	ERA	IP	SO	BB	H / R / ER	HR	WHIP	HBP	GDP
Miller, Bobby	2 - 0	2	1.64	11	9	2	8 / 2 / 2	0	0.91	0	0
Batter	Team	Games	At Bats	AVG/OBP/SLG	HR	RBI	SB / CS	SO/BB	2B / 3B / HR	Off WAR	Def WAR
Steer, Spencer	CIN (1B)	53	204	.289/.358/.500	30	28	1 / 2	47K / 21BB	15 / 2 / 8	1	-0.4
McLain, Matt	CIN (SS)	2	65	.354/.417/.523	13	9	1 / 1	20K / 6BB	5 / 0 / 2	0.9	0.2
Carrol, Corbin	AZ (LF)	54	188	.287/.372/.516	27	24	16 / 2	43K / 23BB	14 / 1 / 9	2.1	-0.3
Bailey, Patrick	SF (C)		39	.333/.350/.564	4	12	0 / 0	11K / 1BB	3 / 0 / 2	0.6	0.2
Bae, Ji Hwan	PIT (CF)	51	149	.275/.329/.360	19	12	15 / 5	40K / 10BB	8 / 0 / 2	0.1	-0.4​

Worst Bi-Weekly Performances:

1. Brice Turang (MIL 2B) - In the last 14 games, Turang is batting only .077/.122/.154. In his last seven games, Turang only has one base hit. In his last 15, Turang only has 3. Turang, on the season, has struck out in 27% of his plate appearances and barrels on only 3.6% of pitches. Turang primarily is struggling in making contact with offspeed pitches, whiffing on 40% of those seen.
2. James Outman (LAD OF) - After starting the season hitting everything out of the park, Outman bat has cooled off immensely. In his last 10 games, Outman only has two singles and is batting .074/.182/.074. Outman hits the ball hard when he makes contact, but has whiffed on 40.4% of pitches seen. Outman has striked out in 35% of his at bats. Outman leads all rookies in strikeouts and 5th in the majors. Defensively, Outman has been above average in furling in the outfield. He is converting 3% more outs than estimated success rate and has created 3 outs above average in the outfield.
3. Anthony Volpe (NYY SS) - Defensively, Anthony Volpe has been phenomenal at shortstop. The Yankee’s #1 prospect is only 22 years old and already has .7 defensive war. Volpe has recently struggled at the plate. He is second among rookie pitchers in strikeouts (68) and 8th in the majors. On the season, Volpe is only batting .192/.270/.355. But when Volpe does get a hit, he hits for power and brings speed on the basepaths. Volpe has 13 steals on the season and has yet to be caught stealing.
4. Karl Kauffmann (COL SP) - Kauffmann made his major league debut on May 19th and has not had a good time. In three starts, Kaufman has posted an 11.37 ERA and earned 3 losses. In his first start, Kauffman went 4.1 innings against Texas and allowed 4 earned runs off seven hits. In his next start, Kaugment again went 4.1 innings against Miami ang gave up 5 earned runs on 6 hits. In his final game, he went 4.0 innings against Arizona and allowed 7 earned runs on 9 hits. In all three games combined, Kauffman only struck out 7 and walked 8. Kauffman is only averaging 90 mph on his fastball and has left too many pitches in the middle of the strike zone.

Shout out to Miles Mastrobuoni as well who is batting .053 in 9 games (19 plate appearances) and for having an ERA of 108.

Pitchers	W / L	GS	ERA	IP	SO	BB	H / R / ER	HR	WHIP	HBP	GDP
Kauffmann, Karl	0 - 3	3	11.37	12.2	7	7	22 / 17 / 16	3	2.29	1	4
Batter	Team	Games	At Bats	AVG/OBP/SLG	HR	RBI	SB / CS	SO/BB	2B / 3B / HR	Off WAR	Def WAR
Turang, Brice	MIL (2B)	53	156	.205/.253/.301	13	12	7 / 3	46K / 10BB	4 / 1 / 3	0	0.4
Outman, James	LAD (CF)	55	175	.234/.323/.469	28	29	6 / 1	70K / 19BB	8 / 3 / 9	0.7	-0.2
Volpe, Anthony	NYY (SS)	58	201	.194/.272/.358	20	24	13 / 0	68K / 21BB	5 / 2 / 8	1	0.7
Casas, Triston	BOS (1B)	48	149	.188/.301/.349	23	16	0 / 0	49K / 25BB	4 / 0 / 6	-0.7	-0.6​

My Early Rookie of the Year

American League:

1. Masataka Yoshida (BOS LF) - See my blurb above
2. Josh Jung (TEX 3B) - See my blurb above
3. Esteury Ruiz (OAK CF) - In 58 games, Ruiz is already at 28 stolen bases. ALthough Ruiz is not hitting for extreme power, his speed is turning almost half of his base hits into what is essentially a double. In most offenses that are not the Oakland Athletics, this would typically translate to more runs and have them take leads early on balls just put in play. Among qualified rookies in the American league, Ruiz ranks 3rd in batting average, T1st (with Jung) in hits, and 1st in doubles. Ruiz does rank in the bottom percentile for hard hit percentage (1%), barrel rate (5%) and walk rate (5%).
4. Hunter Brown (HOU SP) - In 11 games, Hunter brown has a 3.64 ERA and recently overtaken Kodai Senga for the lead in strikeouts for rookie pitchers. Brown struggled in his last start against Minnesota, giving up 5 earned runs on 6 hits. This was after Brown had pitched back-to-back quality starts against the Oakland As (7 IP 2 ER and 6 IP 1 ER).
5. Logan Allen (CLE SP) - See my blurb above
6. Bryce Miller (SEA SP) - The Mariners #2 prospect dominated the league in his first five starts going at least 6 innings in each and allowing only four runs in total. Miller only had one hiccup game in which he allowed 8 earned runs in 4.2 innings against the New York Yankees. Miller's success has been largely in part in limiting walks and throwing many strikes for weak contact. Miller is top in the league in walk rate only allowing walks in 2% of at bats. Miller primarily throws his fastball 68% of the time and goes to his offspeed pitchers to put batters away. Miller is set to start on June 4th against Nathan Eovaldi of the Texas Rangers.
7. Yennier Cano (BAL RP) - In his first 9 innings of the year, Cano did not allow a single base hit. Can has 30 strikeouts on the season through 30 innings of relief. In 5 save opportunities, Cano has successfully earned 4 saves with a 0.93 ERA and a WHIP of 0.59. Cano remains the secondary closer behind Felix Bautista, used primarily to maintain leads in close games and as the set-up man for the 9th inning.

Pitchers	W / L	GS	ERA	IP	SO	BB	H / R / ER	HR	WHIP	HBP	GDP
Allen, Logan	1 - 1	7	2.72	39.2	43	11	41 / 13 / 12	3	1.31	0	1
Brown, Hunter	4 - 1	11	3.61	62.1	74	20	57 / 29 / 25	4	1.24	4	6
Miller, Bryce	2 - 0	6	3	36	31	3	24 / 12 / 12	2	0.75	2	0
Batter	Team	Games	At Bats	AVG/OBP/SLG	HR	RBI	SB / CS	SO/BB	2B / 3B / HR	Off WAR	Def WAR
Yoshida, Masataka	BOS (LF)	48	186	.312/.389/.500	26	31	3 / 0	21K / 21BB	12 / 1 / 7	1.1	-0.6
Jung, Josh	TEX (3B)	52	207	.295/.341/.531	40	37	1 / 2	63K / 14BB	11 / 1 / 12	2	0.3
Ruiz, Esteury	OAK (CF)	57	223	.269/.335/.350	24	24	28 / 5	44K / 10BB	13 / 1 / 1	0.4	-0.9​
Relief Pitcher	G	W - L	ERA	IP	SV / SVO	SO / BB	WHIP	H / R / ER	HR	GDP	HLD
Cano, Yennier	23	1 - 0	0.93	29	4 / 5	30K / 1BB	0.59	16 / 3 / 3	0	3	11​

National League:

1. Corbin Carroll (ARZ LF): See my blurb above.
2. Spencer Steer (CIN 3B): See my blurb above.
3. Kodai Senga (NYM SP): In his last start, Kodai Senga pitched 7 innings of 1 hit baseball against the Philadelphia Phillies. Senga ranks first among national league pitchers in strikeouts and second in innings pitched (behind Ryne Nelson). Kodai Senga strikes out 29.8% of batters but gives up lots of hard contact. Batters are still only batting .125 against his ghost fork and strikes out 59.1% of batters as a putaway pitch. This is primarily because batters have a 59.1% whiff rate on his forkball (66 PA) and his slider (7 PA). Senga is scheduled to pitch on June 4th against the Toronto Blue Jays’ Yusei Kikuchi.
4. Ezquiel Tovar ( COL SS): In 55 games on the season, the Colorado shortstop has accumulated 46 base hits in 55 games. Tovar leads all NL rookies in doubles (16) and is currently slashing .241/.286/.398. Defensively, Tovar has been exceptional at shortstop accumulating 0.9 defensive war. Tovar has 6 outs above average at shortstop and has successfully converted 3% more plays than the estimated success rate.
5. James Outman (LAD CF): See my blurb above.
6. Francisco Alvarez (NYM C): The Mets #1 prospect has taken the league by storm. Alvarez has been above average in framing especially above the zone and has 5 blocks above average. Alvarez however has struggled in maintaining run control having -3 CS above average. At the plate, Alvarez has 6 doubles and 8 home runs on the season in 35 games with a slash line of .252/.308/.523.

Pitchers	W / L	GS	ERA	IP	SO	BB	H / R / ER	HR	WHIP	HBP	GDP
Senga, Kodai	4 - 2	10	3.44	55	70	31	43 / 21 / 21	6	1.35	0	4
Batter	Team	Games	At Bats	AVG/OBP/SLG	HR	RBI	SB / CS	SO/BB	2B / 3B / HR	Off WAR	Def WAR
Carrol, Corbin	AZ (LF)	54	188	.287/.372/.516	27	24	16 / 2	43K / 23BB	14 / 1 / 9	2.1	-0.3
Steer, Spencer	CIN (1B)	53	204	.289/.358/.500	30	28	1 / 2	47K / 21BB	15 / 2 / 8	1	-0.4
Tovar, Ezequiel	COL (SS)	54	187	.241/.286/.396	19	23	2 / 1	57K / 10BB	15 / 1 / 4	0.8	0.9
Outman, James	LAD (CF)	55	175	.234/.323/.469	28	29	6 / 1	70K / 19BB	8 / 3 / 9	0.7	-0.2
Alvarez, Francisco	NYM (C)	35	111	.252/.308/.523	14	19	0 / 0	29K / 7BB	6 / 0 / 8	1	0.3​

MLB Debuts

• 5/19 Karl Kauffmann (COL SP) - u/TEX 4.1 IP, 4 ER, 7 H
• 5/19 Patrick Bailey (SF C) - Mia 0-0
• 5/23 Bobby Miller (LAD SP) - u/ATL 5 IP, 1ER, 4 H
• 5/26 Randy Vasquez (NYY SP) - SD 4.2 IP, 2 ER, 4H
• 5/28 Andruw Monasterio (MIL 2B) - SF 0-1

Pitchers	W / L	GS	ERA	IP	SO	BB	H / R / ER	HR	WHIP	HBP	GDP
Kauffmann, Karl	0 - 3	3	11.37	12.2	7	7	22 / 17 / 16	3	2.29	1	4
Miller, Bobby	2 - 0	2	1.64	11	9	2	8 / 2 / 2	0	0.91	0	0
Vasquez, Randy	0 - 1	1	3.86	4.2	6	3	4 / 2 / 2	1	1.5	2	0
Batter	Team	Games	At Bats	AVG/OBP/SLG	HR	RBI	SB / CS	SO/BB	2B / 3B / HR	Off WAR	Def WAR
Bailey, Patrick	SF (C)	11	39	.333/.350/.564	4	12	0 / 0	11K / 1BB	3 / 0 / 2	0.6	0.2
Monasterio, Andruw	MIL (2B)	3	4	.375/.444/.375	0	0	0 / 0	3K / 1BB	0 / 0 / 0	0.1	0​

The stats I used for this analysis were prior to any games on Friday May 2nd. If you want to see all the rookies I reviewed and their stats as of me writing this I have attached a (google sheet link here)[https://docs.google.com/spreadsheets/d/1hMB-Eu4fowNgdKSRHoBorhtCOKr8KaTx3kYXfcUvZvc/edit?usp=sharing\]. I am primarily a Chicago Cubs fan so you will likely know more about your team than me, so I apologize if I may have overlooked or underlooked anything. Let me know if there are any memorable moments I may have missed or your own hot takes.

Introduction: Regular car service plays a vital role in maintaining the optimal performance and safety of our vehicles. It involves a comprehensive inspection, maintenance, and repair of various components, ensuring that our cars operate efficiently and reliably. In this article, we will explore the significance of car service and discuss the key benefits it offers to vehicle owners.

1. Enhancing Safety on the Road: Heading: Prioritizing Your Safety

A well-maintained vehicle significantly reduces the risk of accidents and ensures the safety of both the driver and passengers. Car service includes checking critical safety features such as brakes, tires, suspension, lights, and steering systems. Timely identification and rectification of any issues in these components can prevent potential hazards on the road, providing peace of mind to drivers.

1. Extending Lifespan and Reliability: Heading: Prolonging Your Vehicle's Lifespan

Regular car service helps in extending the lifespan of your vehicle. By adhering to manufacturer-recommended maintenance schedules, you can identify and address minor issues before they escalate into major problems. Routine oil changes, filter replacements, and inspections of belts, hoses, and fluid levels can prevent premature wear and tear, ensuring that your car remains reliable for years to come.

1. Improving Fuel Efficiency: Heading: Maximizing Your Fuel Economy

Efficient fuel consumption is not only economical but also environmentally friendly. During car service, technicians analyze fuel delivery systems, engine performance, and other crucial factors that affect fuel efficiency. By maintaining optimal tire pressure, ensuring clean air filters, and keeping the engine properly tuned, you can significantly improve your car's fuel economy, saving you money at the pump.

1. Avoiding Costly Repairs: Heading: Saving Your Wallet from Major Expenses

Neglecting regular car service may lead to more significant and costly repairs down the line. Regular inspections can identify potential issues early on, allowing for timely repairs or replacements of faulty components. By addressing minor problems promptly, you can prevent them from escalating into more severe damage, ultimately saving you from expensive repairs and breakdowns.

1. Preserving Resale Value: Heading: Protecting Your Investment

If you plan to sell or trade in your vehicle in the future, regular car service is essential for maintaining its resale value. Potential buyers are more likely to be attracted to a well-maintained vehicle with a documented service history. Regular maintenance not only keeps your car in excellent condition but also demonstrates your commitment to its care, enhancing its market appeal.

1. Accessing Expert Advice: Heading: Leveraging Professional Expertise

Car service provides an opportunity to consult with trained professionals who specialize in automotive maintenance. Technicians can offer valuable advice on how to best care for your specific make and model, including recommendations for optimal driving practices, maintenance intervals, and any potential recalls or updates from the manufacturer. This expertise ensures that you receive the best possible care for your vehicle.
Conclusion: Regular car service is a crucial aspect of responsible vehicle ownership. By prioritizing safety, extending your car's lifespan, improving fuel efficiency, avoiding costly repairs, preserving resale value, and leveraging professional expertise, you can enjoy a reliable and efficient driving experience. Remember to follow your manufacturer's recommended maintenance schedule and consult with trusted professionals to keep your car in top shape for years to come.
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Digital technology in the early years: The importance of everyday learning opportunities to build young children’s digital technology skills

This factsheet will support early childhood professionals to:

• broaden their understanding of the inclusion of digital technology in the early years
• explore effective strategies to embed play-based digital practices
• support children’s concept development of digital technologies

As a co-author of the Early Childhood Australia (ECA) Statement on young children and digital technologies, can you explain the rationale for creating this statement? How can it support educator practice with regards to building children’s digital technology skills?

The ECA Statement on young children and digital technologies was created to support adults to make decisions about technology use ‘with, by and for’ young children. Increased recognition in the sector that young children use a range of technologies at home and in their communities, for playing, communicating and accessing online content, suggested that digital learning in early childhood settings was timely. The statement highlights four main areas of children’s learning and development: relationships, health and wellbeing, citizenship, and play and pedagogy. It also invites educators to think about how they understand technologies and the role of technologies in the lives of children and families.
This includes thinking about what is known as ‘philosophy of technology’ (Gibbons 2010). Philosophy of technology is a body of knowledge that proposes different ways of thinking about the relationship between people and technologies. Just as there are theories of play and learning that educators can refer to, there are philosophies of technology educators can draw on to think about using technologies with children. Three of the main philosophies of technology are technological determinism, substantivism and critical constructivism. Technological determinism is the most commonly held view. This view suggests that technologies cause or determine what happens to people. Some people hold a negative view of determinism: for example, thinking that technologies reduce the quality of children’s imaginative play. Other people hold a positive view of determinism, believing that technologies support children to communicate with others. Substantivism considers how technologies shape practices, or what people do in their daily lives over time. Critical constructivism posits that technologies are always designed and used by people according to human values. This view suggests that people can make active choices about how and why they use technologies that are relevant to their lives, such as people using videoconferencing during the pandemic to connect with family and friends.

The Victorian Early Years Learning and Development Framework (VEYLDF) refers to five Learning and Development Outcomes for children. Outcomes 4 and 5 explicitly mention the inclusion of digital technologies in children’s learning. What are some effective learning experiences that explore everyday opportunities to build children’s understanding and use of digital technologies?

Technologies are part of children’s lives; however, not all educators are comfortable with using technologies in children’s learning. Rather than focusing only on the technology in digital learning, think instead about the ways in which technology creates opportunities for meaning-making. For example, making meaning using technologies may involve taking photographs, creating videos or slideshows, co-sharing digital content, or coding with robotics. Meaning-making can also be about understanding how we live with and use technologies in our daily lives. Meaning-making for understanding does not have to involve using working technologies. Children can create their own non-working technologies from available materials (such as boxes, blocks or paper) to participate in sociodramatic play that provides opportunities for talking about how and why technologies are used. For example, children might make their own mobile phones and use these in their play to send messages to each other and take calls. Educators can help children in this play by inviting children to use technologies in ways that are respectful of relationships. Are the children having a pretend meal together? Can educators invite children to put their phones away while they eat? Or if children are taking pretend photographs of each other, educators can be sure to model asking for consent. Educators can also create representations of technologies that help children learn about the internet and how information and data are shared over a network: for example, using string to ‘connect’ non-working devices in a home or office corner to help children learn about the internet as a network of connected technologies. Children can ‘send’ messages, emails or content to each other as paper notes attached to the string. Educators can invite children to consider if they know who is sending them messages or where the content has come from. This provides children with an everyday opportunity to learn about the internet and safe online behaviours.

The VEYLDF states ‘Assessment is designed to discover what children know, understand, and can do’. What does this look like in terms of children’s trajectory of learning around digital technology? How might educators connect their observations of children engaging with digital technology to children’s learning and development across other domains?

Children are likely to follow a developmental trajectory when using technologies due to their experiences using technologies at home and in the community, with their family, friends and peers. Children’s experiences with technologies are variable and so they will come to early childhood education and care settings with a range of technological knowledge and skills. This can depend on the access children have to devices, reliable internet and opportunities for adult engagement during technological activity. Educators can observe how children build their capacity to use devices over time. This is important because some basic operational knowledge with technologies is required of children as they enter formal schooling. For example, do children know how to turn technologies on and off? Can children point, touch, swipe and resize using a tablet? Pre-school aged children may also exhibit technological language, such as download, upload, click and save, and will probably know the difference between still and moving images. This language helps children communicate and share information with other people, including family members and peers. When children use technologies, educators can also support connections with digital media or content that supports children’s identity. For example, which programs or games do children enjoy at home and how are these recognised in the classroom? This can be achieved by providing children with access to pretend technologies and apps, such as a cardboard box representing a touchscreen device, with cut-outs of their favourite applications. Other examples include learning about digital media interests alongside children, examining and sharing storylines, or providing opportunities for children to express digital media interests through more traditional play, such as box construction, drawing or painting. Using internet-connected technologies also provides opportunities for children and educators to access information to resource play and learning, such as through video content, or well-curated resources from reputable early learning providers in topic areas including science, mathematical thinking, history, music and visual or performing arts.

The VEYLDF identifies eight Practice Principles that illustrate the most effective ways for all early childhood professionals to support children's learning and development. One of these Practice Principles is ‘Partnerships with Families’. What are some effective strategies to engage families in discussions about digital technologies and young children?

Families are central to children’s learning and development. When educators engage in discussion about technologies with families, they can help adult caregivers facilitate positive digital learning opportunities for children at home. The VEYLDF states ‘Early childhood professionals … actively engage families and children in planning for ongoing learning and development in the service, at home and in the local community’ (VEYLDF, p. 9). Many organisations in Australia are involved in promoting and supporting young children’s safe and productive engagement with technologies, with tip sheets, videos, infographics and games. Educators can invite families to use these materials with children to explore topics such as staying safe online, being active with technologies, using technologies to support social relationships, and fostering children’s digital play.

What would be some final key messages for educators who want to support children’s digital skills and understanding?

Two key messages are important for educators thinking about supporting children’s digital skills and understandings. The first message is to start involving children in digital opportunities that feel achievable within the service. Not all services have access to technologies and not all educators feel comfortable using technologies with children. Programming can involve using non-working technologies in children’s play, such as using a block in pretend play as a mobile phone, or teachers creating representational technologies for children to use in the home corner (for example, printed life-size copies of tablet devices). Working technologies do not need to be complicated. While coding, robotics, digital microscopes and augmented reality provide highly engaging learning opportunities, children can also learn from educators modelling appropriate technology use on more accessible technologies, such as touchscreen: for example, by asking permission to take photographs or fact-checking information online. It may also be helpful for services to complete a technology audit – such as the eSafety checklist for early learning services – to see which technologies are available for children and where these might be integrated with ongoing learning opportunities in the service. For example, digital music can be incorporated into rest times, or children can be provided with opportunities to create digital drawings alongside traditional mark making.
The second message is to understand that young children today are part of a digital world. At any one time there are more than 8000 satellites around the earth that are sending and communicating information and data. It is becoming harder and harder to isolate children from technologies because so much of the world is now digital. It may be more helpful to think intentionally about supporting children to live within a digital world. The VEYLDF states ‘Early childhood professionals … use intentional teaching strategies that are always purposeful and may be pre-planned or spontaneous, to support achievement of well-considered and identified goals’ (VEYLDF, p. 15). This shifts the pedagogical focus from trying to keep children away from technologies to thinking about the purposeful use of technologies with children, allowing children to develop the knowledge and skills they require to participate in a digital world.

Questioning and listening

Asking questions and then listening to the answers can propel children’s learning, and it is this approach that is at the heart of an inquiry model. Questioning and listening are essential in any learning relationship, and they are both part of an active process where you do not just listen and question children but also interpret, respond to and make meaning of their thinking and learning processes.
The pedagogical strategy of listening can provide educators with a new framework in which to consider their role in children’s learning and development. When educators look deeply at what holds children’s attention, the result is that children and adults are able to recognise capabilities and qualities in each other.
Do not always rely on asking questions and trying to provoke answers as a way of engaging with children. Educators who give children the time, space and resources to think long and deeply are often rewarded with rich responses.

‘The right question at the right time can move children to peaks in their thinking that result in significant steps forward and real intellectual excitement. Although it is almost impossible for an adult to know exactly the right time to ask a specific question of a specific child – especially for a teacher who is concerned with 30 or more children – children can raise the right question for themselves if the setting is right.’ (Millikan, et al 2014, p. 69)

The value of questioning cannot be overstated, particularly when working with a pedagogy of inquiry. You need to consider what directions you are leading children with your questions, as well as what type of questions you ask children. Are they ‘thick’ questions or ‘thin’ questions? That is, are they questions that are open ended and encourage children to think broadly or do they close off children’s thinking?

Wonder and uncertainty

Wonder and uncertainty are necessary dispositions for learning. Both of these dispositions are considered important when working with a pedagogy of inquiry. As Moss says, ‘Such learning is also more likely to happen and be welcomed when wonder or amazement are valued’ (Moss 2019, p. 74).
Rich learning opportunities can happen when you include these dispositions in your daily practice. This is not a closed-off, linear way of working but rather one that allows you to remain open to the ideas of children, their families and your colleagues.
When you work with dispositions of wonder and uncertainty, it encourages a flexible way of thinking and working in which hypotheses might be made but are also subject to change. This is not an approach that has pre-determined outcomes.

Top tips for working with a pedagogy of inquiry

• Read, listen or watch something that might shift your thinking or that supports you to develop a growth mindset. Learn something new to bring back into your work with children. This does not need to be related to early learning. Learn something that fires up your neural pathways. An educator’s area of interest or enthusiasm can have an inherent trickle-down positive impact on children.
• Adults can often anticipate difficulties and resolve them for children, and this does not give children the opportunity to think for themselves and provide solutions. Educators should aim to create a culture of ideas rather than a culture that provides all of the answers.
• Design your environments carefully, with attention paid to the intentional use of resources, materials and provocations, and provide children with extended periods of time to re-visit these.
• Educators need to follow children’s footprints – that is, the directions of their learning. This is only possible through a process of reviewing and reflecting on your documentation materials. It can be useful to consider what you know, what you don’t yet know and what you would like to find out more about. Gathering clues about children and then asking rich, deep questions adds great value to the development of any inquiry project.
• Give children time to be curious, to wonder, and to discuss and adjust or change their opinions.

This fact sheet was developed by the Early Years Unit at VCAA

This fact sheet was developed by the Early Years Unit at the Victorian Curriculum and Assessment Authority (VCAA) and supports information presented in the VCAA on-demand webinar ‘A pedagogy of inquiry to support integrated teaching and learning approaches’. Watch A pedagogy of inquiry to support integrated teaching and learning approaches webinar video.

References

Duckworth, E 1996, The having of wonderful ideas and other essays on teaching and learning, Teachers College Press, New York
Edwards, C, Gandini, L and Forman, G (eds.) 2012, The Hundred Languages of Children: The Reggio Emilia Experience in Transformation, 3rd edn, Praeger, Santa Barbera
Moss, P 2019, Alternative Narratives in Early Childhood, Routledge, Oxfordshire
Touhill, L 2012, ‘Inquiry-based Learning’, NQS PLP e-Newsletter, No. 45

Using the VEYLDF to inform your practice

As part of the Education and Care Services National Law (National Law) and the National Quality Standards, the Victorian Early Years Learning and Development Framework (VEYLDF) is an approved learning framework. As an approved learning framework, it has the potential to make you a better educator and your practice more contemporary.
The VEYLDF allows us to reflect on learning and development outcomes for children. As educators, we can reflect on our own practice in supporting all children by considering if our work aligns with the Practice Principles. The VEYLDF provides us opportunities to inform our pedagogical decisions and to critique or challenge our existing practices.
The VEYLDF also provides a shared language and understanding for all early childhood professionals and can inform conversations with families, colleagues and other professionals working with young children.

Additional resources that might be useful

Download copies of VCAA early years resources.
Keep up to date with new resources and professional learning opportunities by subscribing to the VCAA Early Years Alert.
A pedagogy of inquiry to support integrated teaching and learning approaches
Download the fact sheet

‘The hands lead us to learning’: Enhancing and extending children’s fine motor development through playful learning experiences

This fact sheet is for educators who want to better understand:

• how educators can think more broadly and deeply about fine motor development in infants and children
• the interplay between fine motor development occurring in play and in relationships with adults, caregivers and peers
• the importance of routines as learning experiences with embedded fine motor learning opportunities.

Introduction

Children’s fine motor skill development – that is, their ability to use their hands – is strongly connected to their play.
Infants’ efforts at motor control commence early. An example of this is the infant who actively reaches towards the face of a person who is physically close to them and engaged in a responsive and attuned relationship with them; the adult, carer or older sibling is perhaps smiling and ‘cooing’ while they are focusing their gaze on the face of the child, who reaches out towards their face.
We understand, in general terms, that the progression of motor development occurs from the centre of the body to the periphery, known as proximodistal progression, or from larger motor control to finer movements. However, over time we have gained a more balanced and nuanced understanding of motor development and we can now see early fine motor development before trunk control is consolidated. Gross motor development leading to core stability and support remains foundational, but earlier attention is now given to fine motor endeavours of infants, with an appreciation that ‘the hands lead us to to learning’.
We understand that gross motor development and fine motor development occur simultaneously and in the context of responsive relationships and purposeful learning spaces. Adults engaging in contingent and attuned interactions with infants provide ‘serve and return’ opportunities and rich responsive learning experiences. Children actively engage, using their growing fine motor dexterity and strength alongside their learning in other developmental domains such as language and cognitive capabilities. It is the interplay between these supportive relationships and children’s growing capabilities that fosters children’s wellbeing. This is now understood to increase the likelihood that infants will confidently explore their world and this exploration is in large part through their hands.

Can you explain the relationship between gross motor skill development and fine motor skill development? How does one support the other?

When we consider that gross motor skill development and fine motor skill development occur simultaneously, we can see the importance of early childhood professionals providing positive and responsive interactions and relationships throughout the day. The way the early childhood professional engages with the infant or young child provides opportunities to progress development.
The early childhood professional who ensures regular ‘tummy time’ is providing opportunity for infants to strengthen muscles, leading to greater core stability. This core stability is foundational to the later skills of sitting up, crawling and walking. These are important skills indeed, however, there is a need to balance this ‘tummy time’ with opportunities for the infant to be positioned on their back, or in a supported sitting position, where they are freely able to explore with their hands.
Thinking of fine motor development at its beginning stages helps us to actively create opportunities for children to explore with their hands. This in turn promotes children’s sense of agency and wellbeing, which is often associated with using their hands. The more children actively do, the more they feel that they can build, create, explore and express themselves.
We are often quite mindful of assessing children’s physical skills progression. Learning experiences, including playful routine times, provide golden opportunities to assess children’s sequential fine motor development from reaching and releasing, from palmer grasping to pincer gripping and so on. Progression along trajectories of learning (including motor skill learning) becomes apparent and provides the basis for tailored learning experiences.
It is important to consider children who require additional support with gross and fine motor skills. Thoughtful planning ensures we set up environments in which all children can feel confident in developing their gross and fine motor skills and feel a sense of agency and control. As we delight in their endeavours, with thoughtful planning we can build children’s sense of wellbeing, identity and connection to their world. Children become able to confidently explore and engage with social and physical environments through relationships and play.

What kind of playful fine motor learning experiences should educators consider when setting up early learning environments for children three to five years old? What are some effective playful strategies for supporting fine motor development?

Three to five years is a fabulous age for more complex play scenarios, with children using multiple learning domains simultaneously and in increasingly sophisticated ways. Again, ‘the hands lead us to learning’ and this is expressed in so much more than just writing and drawing. Indeed, children are extending and consolidating an increasing range of skills at this age.
The work of researchers Susan Knox (2008), and Karen Stagnitti and Louise Jellie (2006), can be used here to consider planning for play in reference to four elements: Space management, Materials management, Pretend play and Participation. This research, while based in occupational therapy, aligns well with the Victorian Early Years Learning and Development Framework (VEYLDF) and places children’s wellbeing at the centre of play. Practitioners are encouraged to consider how to promote participation by all children, inclusive of all abilities, through careful consideration of the environment, materials and pretend-play opportunities. This research provides a thorough and holistic view of children’s learning, recognising that children bring increasing cognition, language, social skills, fine motor development, creativity and agency to their play. Child-led play is key, but the educator must also consider how to promote play opportunities that take children beyond their most frequented play spaces. This requires a more creative use of learning environments, inviting children to participate in spaces and skills they may not have previously sought out independently.
One example is to set up a restaurant, where children are invited to navigate the space and engage with a variety of fine motor skills during a complex pretend-play scenario. This embeds learning in meaningful ways, with multiple learning areas at play. Children can take on various characters while engaging, negotiating and problem-solving. Fine motor skills are practised purposefully as children take written orders, write or draw a menu, cut up paper to make money, set up a cash register, dress up as waiters, pour drinks, prepare food and set up tables. The opportunities are endless and can be tailored to children’s interest and skills to provide challenge, practice and delight. For example, bi-manual skills are promoted in this scenario when opening containers and stirring bowls of food, where hands undertake different tasks at once – one hand holding and stabilising while the other hand turns or stirs.
Educators need only a creative mind in planning for all four elements, and the learning opportunities are endless (‘Early childhood professionals … use intentional teaching strategies that are always purposeful and may be pre-planned or spontaneous, to support achievement of well considered and identified goals’ [VEYLDF p. 15]). Inclusive thinking may see this play space provided outdoors, inviting in children who may be less likely to engage indoors (intentional support strategies also promote equitable participation in play for all children and meaningful ways to demonstrate learning [VEYLDF p. 12]).
A creative and inclusive approach asks us to consider the environment in numerous ways, offering a wide variety of materials, setting up play spaces that invite self-management and challenge, and following the increasingly complex play scripts or pretend-play scenarios of young children.

What are some everyday routines for children that might provide opportunities for supporting fine motor development?

Routines and transition times offer a wealth of fine motor experience and abundant opportunities for promoting children’s agency and self-responsibility. Additionally, they are highly repetitive daily experiences – treasures for practising fine motor skills. Encouraging independent skill development during these times, with warmth and high expectations for children, can turn a range of daily tasks into important learning rituals.
These rituals connect children to their peers and to their space, building confidence, connection and wellbeing. Children’s active participation provides many and varied fine motor movements at different times, such as taking care of their belongings at entry and departure times, dressing and undressing, setting up for meals, toileting and setting up play or rest areas.
Regular communication with families allows the progression in children’s skills to be shared between educators and families. This can reveal collaborative opportunities across home and the early years setting, and align our expectations for children. Playful and routine practice opportunities abound, with partnership between educators and families building children’s confidence and capacities (VEYLDF p. 9).

‘To play or not to play’: The role of the adult in understanding and collaborating in children’s play

This fact sheet is for educators who want to better understand:

• the role of the adult in supporting children’s learning and development through play
• how to build reciprocal relationships where children and adults are co-contributors to the creative process.

When we think about play within the early learning context, we often think of it as being ‘fun’ and occurring naturally – it is often referred to as being universally understood. Is this the case, or is it more complicated than that?

Children’s play encompasses many ways of being and becoming. Play is linked to fun, but this is just one way of being and does not speak to the complexity of play. Fun is fleeting. Parts of play can be joyful, frustrating, exciting, annoying, challenging, hilarious and, at times, uncomfortable. Play includes many emotions and experiences. Sometimes children are excluded from other children’s play – is this fun? What children are doing in play is complex – navigating limbs, expressing ideas, listening to others, creating novel worlds and negotiating with peers. Therefore, the emotions and feelings that children experience are varied.
Children are experimenting with and expressing their worlds, and the collaborative activity of play requires many skills. Ebbeck and Waniganayake (2016) tell us that in play ‘children are constructing an identity – who they are, what they know and what their joys and fears are, as well as their sense of belonging to a family and a community’ (p. 3). This understanding captures the richness of play, which is not limited to one way of being. Seeing children’s play as multifaceted allows educators to holistically understand children in the early childhood context.
Play is a universal activity that children engage in, as reflected in the United Nations Convention of the Rights of the Child (UNCRC, 1989). But while there are similarities that occur in children’s play across the world, when we look at and hear what children are doing and expressing in their play, we see that it is also informed by their culture. For example, in dramatic play, being ‘Bluey’ or making cakes in the sand pit are activities that are directly taken from the child’s day-to-day culture. The people, places, objects, practices and rituals in the child’s culture fuel their play, and play is thus an expression that reflects the culture the play is taking place within.
Children bring into the early childhood setting individual, family and community experiences that reflect their culture, giving educators a rich tapestry to understand the child’s perspective of their world. Roopnarine’s (2011) quote is helpful to understand the links between play and culture: ‘A fundamental problem with universal claims about play is that they basically ignore contrasting realities of childhood experiences and cultural forces that may help shape caregivers ideas about play and early learning, and children’s role in their own play.’ (p. 20)

Given that there are many different theories that inform our approaches to children’s learning and development, does the role of the adult vary in supporting children’s development in play?

Theories can inform teaching practice, as being able to hold other ideas and perspectives allows us to see things differently. Theory is helpful for understanding the world around us, and in the early childhood education and care (ECEC) context, theories can inform and change our practice.
Developmental theories are varied and vast, and contemporary framings have become quite different from the more foundational knowledge, reflecting the diversity of our societies. The field is not stuck on linear and fixed stages. Practitioners work with the children in their care, taking into consideration their contexts, environments and families, and using various theories and research to inform their practice.
Teaching practice varies, and theory and research can assist educators’ practice. For example, contemporary theories remind us that children’s play is not simply something that happens naturally; these theories consider group dynamics, equity, social justice, advantage and disadvantage, and the way power moves between the players. They also explore the ways that understanding children’s lives outside the early childhood setting can inform teaching and program planning. Contemporary theories can open us up to other views, and while many of these have existed for a very long time, they haven’t always been prioritised to think about children, context, difference and learning.

How can we ensure that the play opportunities we create for children help build collaborative and reciprocal relationships between adult and child?

The following diagram from page 15 of the Victorian Early Years Learning and Development Framework (VEYLDF) shows the three aspects of integrated teaching and learning, and holds great clues about the educator’s role in children’s play.
📷
This diagram can be used by educators and teams to reflect on their practice. Guided play and learning prioritise the educator responding to spontaneous learning opportunities. Reciprocal two-way exchanges create a balance of children guiding adults, and adults guiding children in dialogue and action. This becomes an improvisation that follows unknown paths, opening up opportunities to collaborate by creating something that did not exist before. When adults are playful with children, multiple perspectives are valued in the collaborative space.
Thinking of educators as co-contributors to the creative process of play speaks to the notion of responding to children’s interests. However, it is useful to adapt this slightly to instead think about responding to the child’s learning. Interests can be transient and surface-level; focusing on children’s learning is more expansive and process-orientated, as learning involves both thinking and enacting through play. This way of working asks educators to respond to spontaneous opportunities that arise, and play affords this responsive practice. Play is a relational activity between children and place, children and objects, children and children, and between children and adults.
Educators are respectfully cognisant of not wanting to take over too much control of children’s play, and when they improvise with children, finding a balance of following and leading, they can incorporate multiple children’s ideas and wonderings in the embodied play narratives. When teachers make use of children’s expertise, it supports children’s agency as their decisions influence the current events within the play. The playful interactions between the educator and children are fluid and unpredictable, mirroring drama pedagogue’s use of an improvised inquiry. Of course, we would not advocate that the educator enters children’s play all the time; this does not align philosophically with play and the ECEC context. However, at times, being a co-player with children speaks to a responsive pedagogy where creative collaborations can occur in play.

What is the relationship between play and learning?

When adults engage in play with children, they can incorporate formative assessment to develop their understandings of the children and inform their planning. Socio-dramatic play is one way children express their imagination. When educators are with children, they are hearing and seeing children’s imaginations enacted, giving rich information about their learning. In play, children are also blocking out other distractions to problem-solve in the moment, and taking on other perspectives, both from other players and in their own role-play. These are all skills that are linked to our executive function, which is the ‘process of how we learn’ (Yogman et al. 2018, p. 6).
When educators are respectfully engaging with children in play, they are part of the collaboration, co-creating something that is novel and only exists between the people in this activity. If educators are only observing from the outside, how can they understand this process? When educators are part of children’s play, they are in the heart of the learning, and it can open up opportunities for understanding children’s working theories and learning processes. What the educator notes when they engage in the play can be documented as part of the planning cycle, and analysed so that understanding the child’s learning within play is extended through planning.

I came upon a lesser-known volume by Alfred Mann, The Great Composer as Teacher and Student: Theory and Practice of Composition, and thought it contained some interesting history and interpretation. Maybe some of you will find it informative. I've reproduced the first chapter below.

I. The Rise of Conventional Theory

During one of the opening scenes of Faust, Goethe merges the drama's principal characters: Mephistopheles poses as Faust. In a brief farce, the false teacher lectures a young student on theory and practice. Dismissing in turn logic, metaphysics, law, and theology, the conversation moves to medicine whose blunt advantages in meeting the fair sex are stressed by the master and readily grasped by the novice. Here the latter can see, as he says, the "wo und wie"—the "where and how," and Mephistopheles answers with the famous words, "Grau, teurer Freund, ist alle Theorie"—"Gray, my dear friend, is all theory."
A new attitude is caricatured in these lines, a criticism of theory that arose from the Age of Enlightenment. In an aside, the devil gives up "the dry tone" and with it the essence of his disguise—he turns from theory to practice. This attitude, so characteristic of the era, also began to play a major role in the teaching of musical composition. Commenting on this father's method of instruction, Carl Philipp Emanuel Bach wrote to the Bach biographer Johann Nicolaus Forkel on January 13, 1775:

In composition he started his pupils right in with what was practical, and omitted all the dry species of counterpoint that are given in Fux and others.

Bach himself was reported to have used the same word, calling the fugues "of an old and hard-working contrapuntist dry and wooden."¹ But the fundamental distinction inherent in the son's remark is absent from the words of the father. Bach knew no theory of music, only practice, and the maligned species of counterpoint were presented in Johann Joseph Fux's celebrated Gradus ad Parnassum of 1725 as "musica activa"; the complementary term, "musica speculativa," was reserved by the author for the mathematical computations used to elucidate the nature of intervals.
"Speculation" is the equivalent of "theory." Derivatives from Latin and Greek, the two words designated the act of viewing, contemplating; and both "speculum" and "theoria" had served in earlier times as titles for musical treatises. Yet "music theory" in the sense that modern convention has given the term was not associated with instruction in the art of musical composition until the late eighteenth century; in fact, Mozart was not entirely conversant with this meaning of the term, whereas in Beethoven's studies it had gained importance.
What separated Bach and Handel from the masters of Viennese Classicism in their teaching of the craft was their exclusive commitment and individual orientation toward musical practice. Thus, C.P. E. Bach's judgment was based on a misconception. The four-part chorale harmonizations with which his father commenced the teaching of composition represented in fact a practice of musical performance conducted by the keyboard player, while the counterpoint species Fux devised for his students represented a purely vocal practice. Less well known than the Gradus ad Parnassum but closely related to its exercises is Fux's Singfundament, a collection of short motet studies, written without text and intended for the young musician in somewhat the same manner as Bach's Two-Part Inventions.
The concept of musical practice was in itself subjected to a radical division during the century preceding Bach and Handel. Attacked for his bold use of dissonance, Monteverdi declared his style of composition a "second practice" as opposed to the "first practice" of guarded dissonance treatment that marked the works of sixteenth-century composers. One might say that the two practices were eventually codified in the disciplines of harmony and counterpoint, but it took more than a century to arrive at precise didactic categories.
The seventeenth century witnessed a proliferation of musical styles, a widening of musical experience, that resulted from the rise of opera, accompanied solo song, and instrumental music. The first composer to be concerned not only with the clarification of styles but with their implications for the student of musical composition seems to have been Heinrich Schütz. In 1648, the aging composer published his Geistliche Chormusik, i.e. music in the old a cappella style, a series of motets to be performed, as he wrote, "without bassum continuum" (although by a stroke of curious irony his publisher, in the attempt to make the work more accessible, had a continuo part added in the printed score). As Schütz's preface indicated, the work was written with a decidedly pedagogical intent.
Continuo accompaniment had become the hallmark of the new style. Its use signalled the progressive tendencies of music drama, and an estrangement from firm contrapuntal control and the "requirements of a well-regulated composition," namely strict, free, and retrograde imitation, melodic inversion, invertible part-writing, and the simultaneous use of different themes.Schütz, who as a younger man had been one of the initiations of the "second" practice in the North, now found himself surrounded by a new generation of musicians well versed in the modern style. Unlike Schütz who had studied in Italy where the "first practice" remained a living tradition, the young practicioners of the art, working in a Germany physically and culturally exhausted by the Thirty Years War, lacked the "fundamenta" of their profession. Though it might seem like "heavenly harmony," music not founded in solid polyphonic technique was judged by Schütz to be no more than "an empty nutsehell," an he admonished the beginner to "bite open that hard nut whose real substance is the foundation of good composition."
His words represent a prophetic confrontation of the two terms. For a long time, "harmony" continued to be the word used to describe a fabric of independent part-writing. It was not until the publication of Jean-Philippe Rameau's Traite d'harmonie in 1722 that the modern meaning was introduced. Three years later, Fux's Gradus established the modern didactic tradition of counterpoint. Yet this was also the decade in which Handel published his first set of harpsichord lessons, and in which Bach wrote the Inventions and the Clavier Books for his son Wilhelm Friedemann and his wife Anna Magdalena—the decade in which the last two great Baroque composers undertook a systematic exposition of instruction in composition. Though they both made their point of departure the highly-developed execution of figured bass, the technique remained, in their hands, inseparable from polyphonic practice. It did not serve to illustrate how voices are placed but how the move within a harmonic texture. And the balanced blending of harmony and counterpoint was to become the foremost challenge of conventional theory.
The new meaning of the word "theory" entered the study of music largely through the influence of a work which, despite its mixed reception, attained epochal significance: Johann Georg Sulzer's General Theory of the Arts (Allgemeine Theorie der schönen Künste, 1771–1774). The author, director of the Faculty of Philosophy at the Berlin Academy of Sciences, was guided by the ideals of Rousseau in his thesis that the arts must both express and enhance nature. In an approach typical of his time, he attempted to define all artistic terms and concepts that would serve this purpose and gathered them in an encyclopedic dictionary. His musical advisors, Johann Philipp Kirnberger and Kirnberger's student Johann Abraham Peter Schulz, represented a lineage of Bach's teaching. The system of musical theory they devised, however, came under immediate attack; it was questioned above all because Sulzer's basic axiom, namely that music is a "sequence of tones guided by the passions of sentiments," resisted his own scheme of standardization. In the second volume of an Essay for the Instruction in Composition (Versuch einer Anleitung zur Composition, 1782–1793), Heinrich Chrisoph Koch, one of the eminent writers of the period, formulated the critical argument:

The young composer's endeavors in letting his soul form beautiful melodies can never be truly aided by theory.

Nevertheless, music theory—no longer in the old sense of the "science" of music but as the subject of college and conservatory courses—became an established abstraction that was to dominate the teaching of musical composition in succeeding generations. This is all the more understandable since vital musical styles and techniques were changing swiftly to meet the demands of taste and musical imagination. When thoroughbass and fugue no longer represented current practice, they were relegated to the realm of theory. They were perpetuated in didactics though much as the "stile antico" had been retained in the age of the second practice, but with a difference: the very terms "prima prattica" and "seconda prattica" implied that the old style had stayed alive, that it continued to be practicable and valid as an artistic expression. Counterpoint and fugue, as branches of modern theory, became "a metier, not an art."²
The dichotomy thus produced had more complex ramifications than this comparison might suggest. Beethoven, though he defied Johann Georg Albrechtsberger's teaching of fugue as an "art of creating musical skeletons,"³ had been his attentive and dedicated student, and the Beethoven biographer Alexander Wheelock Thayer gives a description, authenticated by contemporary accounts, of Beethoven's daily sessions with a colleague and neighbor in which "the conversation usually turned upon musical theory and composition."⁴
Theory must here still be understood in rather general terms as the study of eighteenth-century writers on various subjects, not in the sense of a more-or-less fixed course of studies in different techniques. Mozart seems to have arrived at the conventional sequence of harmony and counterpoint in his pedagogical experience empirically—this sequence, although practiced at the time, had not been fully established. In teaching the young composer Thomas Attwood during the years 1785 and 1786, he became increasingly aware of a lack of linear skill in his student's harmonizations and—apparently under the influence of Haydn—decided to direct the twenty-one-year-old back to the beginning of contrapuntal studies.⁵
The most striking case of a composer's awareness of the increasing importance of conventional theory is Schubert's legendary lesson, two weeks before his death, with the respected Viennese theorist Simon Sechter. In a letter responding to a request for biographical information, Sechter mentioned this lesson but we had no knowledge of its contents until the manuscript pages on which both Schubert and Sechter had worked were recently brought to light.⁶ Schubert turned to Sechter for advice because he was puzzled by certain technical details of fugal practice with which his generation was no longer conversant. The documentation of his lesson is all the more arresting since it shows that Schubert obtained the answers he sought. Sechter corrected the samples of fugal expositions that Schubert had submitted and added a clear exposition of the principles involved. The lesson was concluded with the assignment of a three-part fugue on which Schubert was no longer able to work. It is a touching postlude to this remarkable encounter that Sechter carried out the assignment and published it, nine days after Schubert's death, in homage to the illustrious student—doubly touching because the mediocre quality of Sechter's work shows that teacher and student met merely as theorist and composer, but not on equal terms.
What had been revealed to the dying composer was a certain historical perspective that the rapid development of the classical style had temporarily obscured, and it was this historical perspective that gave to nineteenth-century theory its most valuable contributions. Albrechtsberger, Beethoven's teacher, had taken an important step in his teaching by adapting the modal technique of counterpoint to the modern tonalities of major and minor. This orientation was subsequently reversed by a historian, Heinrich Bellermann, who, in his manual Der Contrapunkt (1862), returned to the letter and spirit of Fux's Gradus. Bellermann, successor to Adolf Bernard Marx, the first professor of music at the University of Berlin and himself the author of a standard manual on composition, was followed in his restoration of modal counterpoint by several other writers, but his book was denounced as "obsolete at its very appearance" by his distinguished colleague Hugo Riemann—as obsolete, one might add, as Bach's conscious use of modes in Clavierübung III.
In the end, neither historical nor analytical studies could solve the problems inherent in the ascendancy of theory. It was the departure from practice that undermined the textbook literature of the nineteenth century. Composers of the Romantic age in their writings did not deal with the question of how to teach composition—only orchestration. Not until the twentieth century were teaching manuals again produced by prominent composers. That the element of creative thought had been missing in didactic literature is indicated in a treatise by Heinrich Schenker, foremost among twentieth-century theorists: Neue Musikalische Theorien und Fantasien (1910–1920). Schenker, who had been torn in his early years between the careers of composer and theorist, eventually decided that the theorist's profession was for him a greater challenge. Though his work lives up to its title by offering a highly imaginative exposition of harmony and counterpoint, it inevitably points to the crux of the dilemma: in essence, composition must be taught by the composer; the theorist can only teach theory, no matter how refined the method.
Unlike theoretical guidance, practical guidance in the composer's craft is committed to the master-artisan relationship that was abandoned in textbook instruction. The didactic literature of earlier ages, too, was addressed to the individual, not to classes. The following chapters will thus be concerned with documents that show the time-honored direct and special exchange between teacher and student in an age when individualism, though strengthened in so many other ways, was abrogated in the teaching of musical composition.
¹ Frierich Wilhem Marpurg, in a letter to Johann Mattheson, Kritische Briefe über die Tonkunst (Berlin, 1760), I, 266. Translated in The Bach Reader, Hans T. David and Arthur Mendel, eds. (New York, 1966), p. 257.
² Paul Henry Lang, Music in Western Civilization (New York, 1941), p. 974.
³ Letter to the publishers B. Schott's Söhne, January, 1825.
⁴ Thayer's Life of Beethoven. Rev. Elliot Forbes (Princeton, 1984), I. 262.
⁵ Cf. This writer's discussion of Haydn's and Mozart's contrapuntal teachings in Mozart-Jahrbuch 1978 / 79, pp. 197, ff.
⁶ The manuscript was discovered by the Schubert scholar Christa Landon; see her report "New Schubert Finds" in Music Review 31 (1970), pp. 215 ff.

I came upon a lesser-known volume by Alfred Mann, The Great Composer as Teacher and Student: Theory and Practice of Composition, and thought it contained some interesting history and interpretation. Maybe some of you will find it informative. I've reproduced the first chapter below.

I. The Rise of Conventional Theory

During one of the opening scenes of Faust, Goethe merges the drama's principal characters: Mephistopheles poses as Faust. In a brief farce, the false teacher lectures a young student on theory and practice. Dismissing in turn logic, metaphysics, law, and theology, the conversation moves to medicine whose blunt advantages in meeting the fair sex are stressed by the master and readily grasped by the novice. Here the latter can see, as he says, the "wo und wie"—the "where and how," and Mephistopheles answers with the famous words, "Grau, teurer Freund, ist alle Theorie"—"Gray, my dear friend, is all theory."
A new attitude is caricatured in these lines, a criticism of theory that arose from the Age of Enlightenment. In an aside, the devil gives up "the dry tone" and with it the essence of his disguise—he turns from theory to practice. This attitude, so characteristic of the era, also began to play a major role in the teaching of musical composition. Commenting on this father's method of instruction, Carl Philipp Emanuel Bach wrote to the Bach biographer Johann Nicolaus Forkel on January 13, 1775:

In composition he started his pupils right in with what was practical, and omitted all the dry species of counterpoint that are given in Fux and others.

Bach himself was reported to have used the same word, calling the fugues "of an old and hard-working contrapuntist dry and wooden."¹ But the fundamental distinction inherent in the son's remark is absent from the words of the father. Bach knew no theory of music, only practice, and the maligned species of counterpoint were presented in Johann Joseph Fux's celebrated Gradus ad Parnassum of 1725 as "musica activa"; the complementary term, "musica speculativa," was reserved by the author for the mathematical computations used to elucidate the nature of intervals.
"Speculation" is the equivalent of "theory." Derivatives from Latin and Greek, the two words designated the act of viewing, contemplating; and both "speculum" and "theoria" had served in earlier times as titles for musical treatises. Yet "music theory" in the sense that modern convention has given the term was not associated with instruction in the art of musical composition until the late eighteenth century; in fact, Mozart was not entirely conversant with this meaning of the term, whereas in Beethoven's studies it had gained importance.
What separated Bach and Handel from the masters of Viennese Classicism in their teaching of the craft was their exclusive commitment and individual orientation toward musical practice. Thus, C.P. E. Bach's judgment was based on a misconception. The four-part chorale harmonizations with which his father commenced the teaching of composition represented in fact a practice of musical performance conducted by the keyboard player, while the counterpoint species Fux devised for his students represented a purely vocal practice. Less well known than the Gradus ad Parnassum but closely related to its exercises is Fux's Singfundament, a collection of short motet studies, written without text and intended for the young musician in somewhat the same manner as Bach's Two-Part Inventions.
The concept of musical practice was in itself subjected to a radical division during the century preceding Bach and Handel. Attacked for his bold use of dissonance, Monteverdi declared his style of composition a "second practice" as opposed to the "first practice" of guarded dissonance treatment that marked the works of sixteenth-century composers. One might say that the two practices were eventually codified in the disciplines of harmony and counterpoint, but it took more than a century to arrive at precise didactic categories.
The seventeenth century witnessed a proliferation of musical styles, a widening of musical experience, that resulted from the rise of opera, accompanied solo song, and instrumental music. The first composer to be concerned not only with the clarification of styles but with their implications for the student of musical composition seems to have been Heinrich Schütz. In 1648, the aging composer published his Geistliche Chormusik, i.e. music in the old a cappella style, a series of motets to be performed, as he wrote, "without bassum continuum" (although by a stroke of curious irony his publisher, in the attempt to make the work more accessible, had a continuo part added in the printed score). As Schütz's preface indicated, the work was written with a decidedly pedagogical intent.
Continuo accompaniment had become the hallmark of the new style. Its use signalled the progressive tendencies of music drama, and an estrangement from firm contrapuntal control and the "requirements of a well-regulated composition," namely strict, free, and retrograde imitation, melodic inversion, invertible part-writing, and the simultaneous use of different themes. Schütz, who as a younger man had been one of the initiations of the "second" practice in the North, now found himself surrounded by a new generation of musicians well versed in the modern style. Unlike Schütz who had studied in Italy where the "first practice" remained a living tradition, the young practicioners of the art, working in a Germany physically and culturally exhausted by the Thirty Years War, lacked the "fundamenta" of their profession. Though it might seem like "heavenly harmony," music not founded in solid polyphonic technique was judged by Schütz to be no more than "an empty nutsehell," an he admonished the beginner to "bite open that hard nut whose real substance is the foundation of good composition."
His words represent a prophetic confrontation of the two terms. For a long time, "harmony" continued to be the word used to describe a fabric of independent part-writing. It was not until the publication of Jean-Philippe Rameau's Traite d'harmonie in 1722 that the modern meaning was introduced. Three years later, Fux's Gradus established the modern didactic tradition of counterpoint. Yet this was also the decade in which Handel published his first set of harpsichord lessons, and in which Bach wrote the Inventions and the Clavier Books for his son Wilhelm Friedemann and his wife Anna Magdalena—the decade in which the last two great Baroque composers undertook a systematic exposition of instruction in composition. Though they both made their point of departure the highly-developed execution of figured bass, the technique remained, in their hands, inseparable from polyphonic practice. It did not serve to illustrate how voices are placed but how they move within a harmonic texture. And the balanced blending of harmony and counterpoint was to become the foremost challenge of conventional theory.
The new meaning of the word "theory" entered the study of music largely through the influence of a work which, despite its mixed reception, attained epochal significance: Johann Georg Sulzer's General Theory of the Arts (Allgemeine Theorie der schönen Künste, 1771–1774). The author, director of the Faculty of Philosophy at the Berlin Academy of Sciences, was guided by the ideals of Rousseau in his thesis that the arts must both express and enhance nature. In an approach typical of his time, he attempted to define all artistic terms and concepts that would serve this purpose and gathered them in an encyclopedic dictionary. His musical advisors, Johann Philipp Kirnberger and Kirnberger's student Johann Abraham Peter Schulz, represented a lineage of Bach's teaching. The system of musical theory they devised, however, came under immediate attack; it was questioned above all because Sulzer's basic axiom, namely that music is a "sequence of tones guided by the passions of sentiments," resisted his own scheme of standardization. In the second volume of an Essay for the Instruction in Composition (Versuch einer Anleitung zur Composition, 1782–1793), Heinrich Chrisoph Koch, one of the eminent writers of the period, formulated the critical argument:

The young composer's endeavors in letting his soul form beautiful melodies can never be truly aided by theory.

Nevertheless, music theory—no longer in the old sense of the "science" of music but as the subject of college and conservatory courses—became an established abstraction that was to dominate the teaching of musical composition in succeeding generations. This is all the more understandable since vital musical styles and techniques were changing swiftly to meet the demands of taste and musical imagination. When thoroughbass and fugue no longer represented current practice, they were relegated to the realm of theory. They were perpetuated in didactics though much as the "stile antico" had been retained in the age of the second practice, but with a difference: the very terms "prima prattica" and "seconda prattica" implied that the old style had stayed alive, that it continued to be practicable and valid as an artistic expression. Counterpoint and fugue, as branches of modern theory, became "a metier, not an art."²
The dichotomy thus produced had more complex ramifications than this comparison might suggest. Beethoven, though he defied Johann Georg Albrechtsberger's teaching of fugue as an "art of creating musical skeletons,"³ had been his attentive and dedicated student, and the Beethoven biographer Alexander Wheelock Thayer gives a description, authenticated by contemporary accounts, of Beethoven's daily sessions with a colleague and neighbor in which "the conversation usually turned upon musical theory and composition."⁴
Theory must here still be understood in rather general terms as the study of eighteenth-century writers on various subjects, not in the sense of a more-or-less fixed course of studies in different techniques. Mozart seems to have arrived at the conventional sequence of harmony and counterpoint in his pedagogical experience empirically—this sequence, although practiced at the time, had not been fully established. In teaching the young composer Thomas Attwood during the years 1785 and 1786, he became increasingly aware of a lack of linear skill in his student's harmonizations and—apparently under the influence of Haydn—decided to direct the twenty-one-year-old back to the beginning of contrapuntal studies.⁵
The most striking case of a composer's awareness of the increasing importance of conventional theory is Schubert's legendary lesson, two weeks before his death, with the respected Viennese theorist Simon Sechter. In a letter responding to a request for biographical information, Sechter mentioned this lesson but we had no knowledge of its contents until the manuscript pages on which both Schubert and Sechter had worked were recently brought to light.⁶ Schubert turned to Sechter for advice because he was puzzled by certain technical details of fugal practice with which his generation was no longer conversant. The documentation of his lesson is all the more arresting since it shows that Schubert obtained the answers he sought. Sechter corrected the samples of fugal expositions that Schubert had submitted and added a clear exposition of the principles involved. The lesson was concluded with the assignment of a three-part fugue on which Schubert was no longer able to work. It is a touching postlude to this remarkable encounter that Sechter carried out the assignment and published it, nine days after Schubert's death, in homage to the illustrious student—doubly touching because the mediocre quality of Sechter's work shows that teacher and student met merely as theorist and composer, but not on equal terms.
What had been revealed to the dying composer was a certain historical perspective that the rapid development of the classical style had temporarily obscured, and it was this historical perspective that gave to nineteenth-century theory its most valuable contributions. Albrechtsberger, Beethoven's teacher, had taken an important step in his teaching by adapting the modal technique of counterpoint to the modern tonalities of major and minor. This orientation was subsequently reversed by a historian, Heinrich Bellermann, who, in his manual Der Contrapunkt (1862), returned to the letter and spirit of Fux's Gradus. Bellermann, successor to Adolf Bernard Marx, the first professor of music at the University of Berlin and himself the author of a standard manual on composition, was followed in his restoration of modal counterpoint by several other writers, but his book was denounced as "obsolete at its very appearance" by his distinguished colleague Hugo Riemann—as obsolete, one might add, as Bach's conscious use of modes in Clavierübung III.
In the end, neither historical nor analytical studies could solve the problems inherent in the ascendancy of theory. It was the departure from practice that undermined the textbook literature of the nineteenth century. Composers of the Romantic age in their writings did not deal with the question of how to teach composition—only orchestration. Not until the twentieth century were teaching manuals again produced by prominent composers. That the element of creative thought had been missing in didactic literature is indicated in a treatise by Heinrich Schenker, foremost among twentieth-century theorists: Neue Musikalische Theorien und Fantasien (1910–1920). Schenker, who had been torn in his early years between the careers of composer and theorist, eventually decided that the theorist's profession was for him a greater challenge. Though his work lives up to its title by offering a highly imaginative exposition of harmony and counterpoint, it inevitably points to the crux of the dilemma: in essence, composition must be taught by the composer; the theorist can only teach theory, no matter how refined the method.
Unlike theoretical guidance, practical guidance in the composer's craft is committed to the master-artisan relationship that was abandoned in textbook instruction. The didactic literature of earlier ages, too, was addressed to the individual, not to classes. The following chapters will thus be concerned with documents that show the time-honored direct and special exchange between teacher and student in an age when individualism, though strengthened in so many other ways, was abrogated in the teaching of musical composition.
¹ Frierich Wilhem Marpurg, in a letter to Johann Mattheson, Kritische Briefe über die Tonkunst (Berlin, 1760), I, 266. Translated in The Bach Reader, Hans T. David and Arthur Mendel, eds. (New York, 1966), p. 257.
² Paul Henry Lang, Music in Western Civilization (New York, 1941), p. 974.
³ Letter to the publishers B. Schott's Söhne, January, 1825.
⁴ Thayer's Life of Beethoven. Rev. Elliot Forbes (Princeton, 1984), I. 262.
⁵ Cf. This writer's discussion of Haydn's and Mozart's contrapuntal teachings in Mozart-Jahrbuch 1978 / 79, pp. 197, ff.
⁶ The manuscript was discovered by the Schubert scholar Christa Landon; see her report "New Schubert Finds" in Music Review 31 (1970), pp. 215 ff.

/NintendoSwitch's Daily Question Thread

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