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I'm interpreting the Tiny World theme to mean running a micro-brewery. This picture shows all of the nouns and verbs that will be in the game. Now to make it happen.
By day I write anti-virus software. By night, when I'm not playing games, I'm often found writing them, or doing an online course to keep my brain active as I just love solving problems, and have done ever since getting my first computer in 1980.
Ludum Dare 32
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Ludum Dare 15
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I'm interpreting the Tiny World theme to mean running a micro-brewery. This picture shows all of the nouns and verbs that will be in the game. Now to make it happen.
I have two ideas. The first idea is something to do with being inside the bloodstream and defending it from viruses, and the second is more of a management game that would make NimbleBit proud.
The second idea is the more interesting of the two, but I think the first idea is more achievable in the timeframe.
The next hour is critical. If I can get the core mechanic of the management game working on paper or in Excel then I'll do it. If not, then I fall back to the bloodstream game.
I'm in, thanks to my lovely wife of a gazillion years who suggested that I enter and make her proud.
Tools and libraries are likely to consist of:
…and the most important tools of all, an A5 notebook, pen and a large helping of obstinacy.
As for the title of this post, I should explain that I'm almost certainly using an Entity System and I'm just reminding myself not to put any logic in the components. Heck, my first job was as a FORTRAN 77 programmer so if I could handle COMMON blocks then I'm sure that I can make my components dumb.
Best of luck to everyone who enters. I'm looking forward to playing your crazy, inventive, out-there interpretations of whatever theme is announced.
Well, that was a marathon, especially for an old guy like me. I'm frankly amazed how much can get done in 48 hours, particularly during those hours when there are no distractions.
You can play the game on the web (if you have Java) here:
This is what it looks like.
The end game is fairly close to what I imagined, although it really could do with a lot of polish and balancing. Given that it's a typing game, I don't think it's going to see a port to a phone any time soon, although it'd probably work on a larger tablet or an iPad.
Finally, I would like to thank my wife and daughter for putting up with me, because I haven't been able to give them much attention, other than the occasional, "please play-test my game!" Tomorrow (or is it today?) I have a day off, and if the weather permits, we're all going to get out of the house and spend some quality family time together.
It may not look like there's a game here, but it is progressing.
The idea is that in a post apocalyptic world, the player has to unlock forgotten discoveries from the vaults of an ancient race known only as humankind. This can only happen by researching those discoveries whilst holding off strange mutated creatures.
Strangely enough, I think the theme of Discovery is going to work quite well if I have time to do it properly. If not, then we'll end up with an unholy mashup of "Centipede" and "Typing of the Dead".
For the first time in ages I will have a properly free weekend. My daughter will be busy with an online course and my wife will be making the most of the opportunity to relax (probably by playing Abduction 2 on my phone). And last but not least, I won't be going to work on Monday, so there will be no struggle to get out of bed at 6am after a weekend of Ludum Dare. I've been working on an Android game on and off since the start of October and Ludum Dare provides the ideal chance to take a short break from it.
This week, before the event, I'll be setting up all the tools on a new laptop. I will most likely be using Processing, Paint.NET, Audacity, sfxr and mulab.
One of the highlights of participating in Ludum Dare is getting to look at what everyone else has done. I'm really looking forward to it.
The game is edging closer to completion. I'd now say that the game itself is done, bar any tuning of the difficulty and the controls. There are still things to do, such as giving it a visible score and giving it a persistent score, but other than that it works reasonably well.
If you want to give it a whirl then you can download it by scanning the QR code from your Android phone. Note that it needs Android 2.1 or better.
I'd be happy with any feedback that you want to give me, so if you would like to leave some then please do so on this site, or here.
In some respects this is a major milestone, in that I've added the robots back in. They don't fire yet, but perhaps it's just as well as it's quite difficult to hit them. I can see that I'm going to have to tune the game a lot to make it playable on a phone.
Android download available here, or by scanning the QR code (below).
If I'd remembered to take the picture before I ate my lunch then you'd have seen a rather delicious Lemon Sole, but I was so keen to eat that I forgot. That was a great way to start a Ludum Dare weekend.
I've been out and about, including taking my family to lunch to celebrate a birthday, so I haven't got down to the serious business of coding yet. But we don't get to see the sun around here very often so it was wonderful to sit at an outside table at the restaurant, to eat some fantastic food and drink a beer and to think about what I'm going to do for this theme.
I've been chewing over ideas including: a side-scrolling Choplifter-style game; a capture the flag game; a few variations on a theme of turn based strategy; an evacuation game; something involving a volcano (thanks Iceland); something with lots of boats, and even a shmup because I'm old and I like them.
My ability at programming far exceeds my ability at art, so whatever I do is going to feature somewhat retro programmer art. But in some respects I'm counting my chickens – I still haven't selected a theme.
Good luck to all entrants. I'm looking forward to seeing what everyone comes up with.
I've listened to the comments that the controls in Cavern Copter are not as good as they should be and as a result I've uploaded a new version with an alternative control scheme.
Think of it as Asteroids and you'll be fine (I hope).
For what it's worth, the new controls work better for me. I can now rescue all 8 scientists in 112 seconds.
— Rod
Edit: I forgot to upload the source code. –> Get the source code here <–
I've done as much of Cavern Copter as I'm going to do. It's now after 1am and I'm contemplating opening that bottle of Battle of Britain Ale that I promised myself before turning in for the night. Thankfully it's a public holiday tomorrow, as I'm knackered.
There are still things that I would like to have accomplished:
Here are the download links:
Congratulations to those who submitted something and better luck next time to those who didn't.
Here's a work in progress. Click on this link and open the .html file when prompted. You'll need Unity web player to run it.
Use WASD or arrow keys to steer the helicopter. There are 8 scientists. Fly over them to rescue them.
I'm making some progress, although not quite as much as I would have liked.
The helicopter can now collide with the walls of the cavern. The player has a score, and the helicopter is far more controllable than it was at the end of day one.
Here's a screenshot that shows the helicopter in a canyon in a cavern.
Still lots to do, such as…
But it's getting there.
Last post of the day before turning in. I finally settled on a name, Cavern Copter. It has been great to get so much time today, although I'm not sure if my wife appreciated my absence. And I nearly forgot to feed the ancient and venerable hamster.
Ideally this would run in the Unity web player, but I can't get it to work with the WordPress plug-in, even though the same file works fine from a "normal" web page.
Windows build here.
Fly the helicopter with WASD or the cursor keys.
Now I'm going to sleep and think about that bottle of Battle of Britain Ale that I've promised myself as a reward. Should really take a picture of it. Or drink it.
Scientists are searching for water deep beneath the Earth's crust. They set up their equipment and start to drill. Suddenly you realise that the water level is rising and the scientists are all in peril. You take to the skies in your trusty helicopter and try to save them.
Or something like that. The one thing that's certain is that rising water levels will play a part in this game. The actual game mechanic is still in a state of flux.


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subset: commoncrawl


text:
Title: Bacon and Horseradish Dip
Yield: 1 Servings
Categories: Appetizers
1/2 c Cooked and crumbled bacon
1 tb Horseradish
1 c Dairy sour cream
1/4 c Mayonnaise
1 tb Parsley
Put all ingredients into a container. Mix well. Chill one hour. A favorite
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Posted to recipelu-digest by "Diane Geary" on Mar 22,


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Creative, driven, and personal
CMMS development, pipeline design, force main condition assessment, FOG control programs, risk-based CIP software. Our services (and even products) are varied, but they all serve our clients' long-term need to effectively, efficiently, and dependably serve their customers. Like our clients, our long-range vision drives quality, creativity, and technical expertise. We are founded on a fascination with water, wastewater, and storm water. That passion makes our services broadly applicable and diverse. We have directly contracted with agencies throughout California to provide the following services:
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These lists cannot communicate the range of service we can provide, but they can give some idea of how our clients understand us to be problem-solvers dedicated to their interests. Contact us to discuss how we can help you with your agency's challenges.
We always send our best.
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Ewers Engineering, Inc. serves clients throughout California. We find face-to-face visits are the most productive and effective approach to resolving Public Works challenges.


text:
In this golden age of virtual collaboration, conference calls might seem like an antiquated mode of communication. But we are social animals and we can talk about collective intelligence in the right direction. In a startup environment, you need to move fast and quickly push past complex situations. Collective intelligence will help deploy the best approach towards an important potential customer or a decision with high-stakes. While we will agree to a minimum, they can be extremely valuable.
Because time is of the essence, give a time-frame for your call. A conference call of under thirty minutes has the double effect of creating urgency and lowering the required time commitment. Nobody wants to block two hours for a call.
Do you need more people's expertise at once? Keep the number of participants to those who are truly relevant to the call. Nobody likes to be invited to a meeting they will not directly benefit from. Also, many people try to cover everything in a call, a common mistake. Focus on the trees and the forest. Break up the work into smaller discussions.
Know where you're going. Set objectives and if possible, define one main question statement. Send out an agenda ahead of time, outlining what topics need to be discussed along with the scheduling invitation.
Just like in every other life situation, you will encounter different personalities. Conference calls can be nerve-wracking for introvert
Involve all parties to a person in charge of an issue You can also organize a round of feedback questions.
Let participants know what their role is in the agenda, so they are mentally prepared with a structured argument. This gives a chance for everyone to speak up, you never know where a good idea can come from.
Those who have experienced disastrous conference calls will remember the awkwardness of technical glitches and background noise. Master the technology prior to the day, plan & test for technical issues. Disturbing sounds around one participant can affect the whole call, remember to use the mute button when passively listening. Obviously, remember to unmute your microphone when it is your turn to speak up.
If this is a high-stakes call involving a potential customer, an important pitch, have a run to a colleague to ensure connection, headphones and microphone are working on your side.
Finally, make things easy for everyone by choosing a service that does not require a complex plug-in installation and works for both PC and Mac.
It is best to have a document on which to base your discussion. Use a cloud-based file sharing platform, but check that everyone is familiar with it. In the case of a slide presentation make sure that each section is clearly labeled and used. Share the document ahead of time so everyone has a chance to go ahead. A word of advice: turn off editing rights and use read-only feature during the call.
If you prefer a screen sharing application, make sure your call participants are comfortable with this tool ahead of time.
You can be sure of meeting the turn of social chit chat, so can conference calls. Politely steer the conversation back to its main topic by referring back to the agenda. If the conversation drifts off, suggest a separate call to address the particular issue.
As the person who has initiated the call, it is your responsibility to stay within the time frame and make sure all topics are covered. This can be a real challenge when working with passionate people!
Once the allocated time is up, summarize the main points. Allow a few minutes to make sure everyone understands their next actions, deadlines, and any questions or doubts. If you have to leave the call before the rest of the group, let them know how to deal with unresolved points
Finally, a good tip is to always give a positive note and thank everyone for their commitment.
To keep ideas fresh in everyone's minds, you need to follow-up your email or your chosen collaboration tool. Avoid confusion by using the same vocabulary and talking points.
It is easy to lose track of everyone's progress so it's all tasks and deliverables ahead in a document. Project management tools like Trello and Asana give a clear view of everyone's responsibilities and progress.
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In person training
True Motion Sports invites you to immerse yourself into becoming an asset for your own golf game through deeper learning and focused training. This one of a kind golf experience gives you the understanding of how your body needs to move to create a powerful and efficient golf swing using state of the art video, ball & club tracking technology, and the body's own biomechanics. We will show you how to train each of golf's true motions using a methodical training program that gets you the repetitions you need to develop a repeatable move. We give you the tools and regimented process to continue getting better long after you leave our facility.
In addition to a thorough understanding and training of the full swing, we will be heading out to a World Class practice facility to teach you all aspects of the short game that will help you score, even when you're not swinging your best. That means going through situational practice to give you confidence that you can make each shot under pressure.
This will transform the way you practice and improve your golf game for as long as you continue to play the game. Our In Person Training clinics are limited to 10 students, so Tim Overman and Matt Strube can personally spend time with each student.
Results You Earn: Upon completing the True Motion Sports Two-Day Clinic you will take home the following:
How your body needs to move to create an efficient and powerful golf swing
How each movement affects your swing, ball flight, & trajectory
What to do if things go sideways
How to train your movement at home after you leave the clinic
Correct Short-Game fundamentals
Your Swing DNA (properly fit irons)
How to approach playing golf and not the game of "GolfSwing"
Practice Plan for the long-term


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Love to sing?
Check us out
Sound Harmony does not (currently!) have any quartets that compete in the Sweet Adelines regional competition. However, we love to quartet! Check out some of the fun quartets that perform at our singouts.
what's new?
The latest
help us out!
get in touch
Join the Sound Harmony choristers on March 15th for a concert hosted by the Illumni Men's Choral . Enjoy a wide variety of musical styles from Classical to Barbershop. Also performing: the Seattle SeaChordsmen, the Norwegian Male Chorus of Seattle, and Special Guests the Virginia Glee Club from the University of Virginia.
For tickets, go here: https://www.brownpapertickets.com/event/4099900?fbclid=IwAR2e70UwZ9QN9kt.... General Seating is free and reserved seating is $20.
There will also be an Epic Beer Choir afterglow at Madrona Arms around the corner. Admission is free. Join us and our fellow singers for more songs, fellowship, and fun.
We rehearse Thursday evenings in Seattle. Interested women are welcome to stop by any rehearsal!
Learn more about joining the chorus or get directions to our rehearsal space.


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You will find a wide range of high quality, locally produced arts and crafts alongside fine jewelry, ceramics, home baked cakes and more.
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text:
Search Facilities
Information Links
- About CIRCLE
- Aims and Scope
- Structure of Circle
- Style Book
- Editorial Conventions
- Abbreviations
- Bibliography
- About the Index
- How to cite this edition
- Glossary
- Historical Introduction
- The Irish Chancery Rolls
- Destruction
- Reconstruction
- Inventory
- Sample Images
- Acknowlegements
- Help
- Links
Contact Us
Patent Roll 3 Edward IV
Warrant: 'It is ordained by authority of parliament that letters patent be made to Robert Myles and Philip Chrisfotre, in the form following:
"Having considered the immense diminution of tithes, emoluments, fruits, revenues and other possessions or profits from old times to the new college or church of the Blessed Virgin Mary in the town of Youghal due, for the augmentation of divine worship there, at the request of the commons of the parliament held at Wexford before Thomas Desmond, e. Desmond, deputy of George, duke of Clarence, Lt, and by the assent of the lords spiritual and temporal in the same parliament, granted to Robert Myles, chaplain, and Philip Christopher, chaplain, for daily celebrating divine service in the new college or church of the Blessed Virgin Mary, in the town of Youghal, that they or their successors, chaplains serving God in the said college or church, may acquire, as well from the K. as from any other persons, lands, tenements, rents, services, churches and advowsons of churches and chapels, as well in demesne and fee as in reversion, with the appurtenances, to the value of 20m p.a., according to the true value of the same, above charges and reprises, whether the same lands, tenements, rents, services, churches and advowsons be held mediately or immediately of the K. or of themselves or of other persons whomsoever, to have and to hold to them and their successors whomsoever, chaplains serving God in the said college or church for ever; the statute passed against putting lands and tenements in mortmain or any other statutes, acts or ordinances, whatsoever heretofore made or enacted to the contrary notwithstanding; without any the K.'s writ of Ad quod damnum, or inquisitions to be taken or returned thereon, and without any other suit to be thereon made or prosecuted to the K. or his heirs or successors: being unwilling that the said Robert and Philip or their successors, by reason of the premises, should be in anything harassed, troubled or aggrieved by the K. or his heirs, justices, escheators, sheriffs, or bailffs or ministers whomsoever. And further, pardon to the said Robert and Christopher the trespasses which they have committed in acquiring to them and their successors any lands, tenements, rents, services, churches and advowsons of churches or chapels, as well in demesne and fee as in reversion, which are held of the K. in chief, to hold to them and their successors forever, and in entering into them the K.'s licence thereupon not being obtained. And moreover, grant to Robert and Philip and their successors that they may have and hold forever the aforesaid lands, tenements, rents, services, churches and advowsons of churches, with the appurtenances, without disturbance or hindrance from the K., his heirs, successors, justices, escheators, sheriffs, or bailffs or ministers whomsoever, in time to come; saving to him and chief lords the services due thereout. Ratify and approve all and singular the privileges and grants whatsoever to the same college or church by the K. heretofore granted, by letters patent under the g.s. of Eng., and also by the tenor of these presents grant and confirm the same, to hold to them and their successors for ever." '
Stat. Edw. IV, pt 1, pp 248–52.
End of Roll
The following abbreviations are used within in the text of CIRCLE
- abp = archbishop [of]
- BMV = beate Marie Virginis [of the Blessed Virgin Mary]
- C. = chancellor [plural: chancellors]
- co. = county (i.e. medieval shire: lower case 'c') [plural. cos.]
- dcd = deceased
- e. = earl of
- Edw. = Edward (used when giving dates by regnal year)
- Eng. = England
- esq. = esquire [plural: esquires]
- Ex. = exchequer
- g.s. = great seal
- Hen. = Henry
- Ire. = Ireland
- Jcr = justiciar [plural: justiciars]
- JP = justice of the peace
- K. = king
- kt = knight
- Lt = lieutenant
- O.Carm. = Order of Carmelites
- O.F.M. = Order of Friars Minor (Franciscans)
- O.P. = Order of Preachers (Dominicans)
- Ric. = Richard (used when giving dates by regnal year)
- s. = son
- sen. = seneschal of
- T. = treasurer [plural: treasurers]
- w. = wife
This glossary is by no means comprehensive. Readers may also wish to consult standard references books such as Joseph Byrne, Byrne's dictionary of local Irish History from the earliest times to c.1900 (Cork, 2004); P. G. Osborn, Osborn's concise law dictionary, ed. Sheila Bone (London, 2001).
- AN = Anglo-Norman
- Ir. = Irish
- Lat. = Latin
- ME = Middle English
- OED = Oxford English Dictionary
The right of patronage or presentation to a church benefice.
allocate, writ of
A writ authorizing allowance to be made by the officers of the Ex. of a specified amount: often this amount is to be off-set against the debts owed to the K. by the beneficiary.
A form of affinity proscribed in late medieval Ireland between the Irish and the English, whereby a man stood sponsor for a child at baptism; (also) gossipred.
Technical term for legal proceedings or various kinds. See mort d'ancestor, novel disseisin.
avener [Lat. avarius]
provider of oats, esp. for the household of the K. or his chief governor
Miscellaneous merchandise sold by weight.
bonnaght [Ir. buannacht]
The billeting of mercenaries or servants.
See tun.
certiorari, writ of
Letters close issued by the K. to his officers commanding them to supply information to him concerning a specified matter, normally by searching the records.
Property, goods, money: as opposed to real property (land).
dicker [Lat. dacra]
A measure of 10 hides.
Portion (one third) of a deceased husband's estate which the law allows to his widow for her life.
The reversion of land to the lord of the fee to the crown on failure of heirs of the owner or on his outlawry.
A survey and valuation of property, esp. one made by royal inquisition.
falding [Ir. fallaing]
A kind of coarse woollen cloth produced in Ireland; the mantle or cloak made from the same.
A fixed annual rent payable to the K. by chartered boroughs.
fotmel [Lat. fotmellum]
A measure of lead.
Technical term: the action of writing out, for instance patent letters and charters; (also) the documents thus written out.
Technical term: the action of recording in the records of the K., esp. the registering of a deed, memorandum, recognizance; (also) the specific item or record thus enrolled.
A repository for the keeping of money. The 'clerk of the hanaper in chancery' was the chancery official responsible for the receipt of fines for the issue, engrossment and ensealing of writs, patents and charters issued by the chancery.
herberger [Lat. herbergerius, hospitator]
One sent on before to purvey lodgings for an army, a royal train (OED).
galangal [AN galyngale]
The aromatic rhizome of certain Asian plants of the genera Alpinia and Kaempferia, of the ginger family, used in cookery and herbal medicine; (also) any of these plants (OED).
generosus [Lat.]
Term designating social status: translated as 'gentleman'.
king's widow [Lat. vidua regis]
The widow of a tenant in chief: so called because whe was not allowed to marry a second time without royal licence.
knights' fees
Units of assessment of estates in land. Originally a single knight's fee was the amount of land for which the military service of one knight (=knight service) was required by the crown. 'Fee' derives from the Latin feudum, which in other contexts translated as 'fief'. In practice the descent of landed estates meant that many knights' fees came to be subdivided and, in the later Middle Ages, personal service was frequently commuted to money payments (=scutage).
liberate, writ of
A chancery writ issued to the treasurer and chamberlains of the Ex. authorizing them to make payment of a specified amount, often the annual fees, wages and rewards of the K.'s officers.
linch [Lat. lincia]
A measure of tin.
The delivery of seisin, or possession, of an estate hitherto held in the K.'s hand, for instance when a minor reaches the age of majority.
Legal term: the action of undertaking to stand surety (='mainpernor') for another person; the action of making oneself legally responsible for the fulfilment of a contract or undertaking by another person (OED).
mass [Lat. messa]
A standard measure of metal.
|A portion of land occupied, or intended to be occupied, as the site for a dwelling house; (also) a dwelling house together with outbuildings and the adjacent land assigned to its use (OED).
mort d'ancestor, assize of [Lat. assisa mortis antecessoris]
A legal process to recover land of which the plaintiff's ancestor (father, mother, uncle, aunt, brother sister, nephew or niece) died seised (=in possession), possession of which was since taken by another person.
nolumus, clause of [Lat. cum clausula nolumus]
A standard clause inserted especially in letters of protection by which pleas and suits are delayed for a specified period of time.
novel disseisin, assize of [Lat. assisa nove disseisine]
A legal process to recover land from which the plaintiff claims to have been dispossessed (=disseised).
|See wey.
|piece [L. pecia]
|A standard quantity of merchandise.
|pendent seal
|Seal hanging from engrossed letters patent attached to a tongue or tag of parchment.
|An illegal encroachment upon royal property.
|A fold along the foot of engrossed letters patent and charters to create a double thickness of parchment, used for attaching the 'great seal pendent' to the letters. An incision was made in the plica and through which a tag of parchment was attached. A wax impression of a seal was then affixed to the tag.
|An act of grace by the K., granted by chancery letters, by which the recipient is to be free from suits at law for a specified term; granted especially to persons crossing overseas or otherwise out of reach of the courts in the K.'s service.
|quare impedit, writ of
|An action brought to recover the advowson of a benefice, brought by the patron against the bishop or other person hindering the presentation.
|The commutation of personal military service to the crown for a money payment. Normally called 'royal service' in Ireland.
|Formal legal possession of land.
|sendal [Lat. cendallum; ME cendal]
|A thin rich silken material (OED).
|stallage [Lat. stallagium, estallagium]
|Payment for a market stall.
|tun [Lat. dolium]
|A large cask or barrel, esp. of wine.
|A term designating social status: translated 'yeoman'.
|Vidua Regis [Lat.]
|See King's widow.
|volumus, clause of [Lat. cum clausula volumus]
|A standard clause inserted esp. in letters of protection by which pleas and suits are delayed for a specified period of time. In full the clause runs: volumus quod interim sit quietus de omnibus placitis et querelis (=we wish that meanwhile he be quit of all pleas and plaints).
|A piece of property which is found ownerless and which, if unclaimed within a fixed period after due notice given, falls to the lord.
|waivery [AN weiverie]
|The technical term for proceedings of outlawry in the case of women.
|wey [Lat. pensa, peisa, pisa]
|A standard of dry-goods weight.
|worsted [ME wyrstede]
|A woollen fabric or stuff made from well-twisted yarn spun of long-staple wool combed to lay the fibres parallel (OED).
|writ [Lat. brevis]
|Letters close containing commands by the K. to certain specified persons, esp. royal officers. Returnable writs, which were not normally enrolled in the chancery rolls, were to be returned by the officer to chancery with details of the actions taken by the officer in response to the contents. See also allocate, certiorari, liberate.


text:
The map in the PC version of PlanetSide 2 serves a number of purposes on a single screen with a zoomable view that is familiar and suited to mouse and keyboard interaction.
When translating it to the PlayStation 4 we needed to solve for several issues:
Interaction Complexity
Information Priority
We went through extensive iterations, starting with UI/UX team collaboration on a whiteboard, moving to wireframing, and finally user testing, both internally and during our Beta phase. Our UI Designer, Richard Diamond, also went through extensive iterations on the readability of the game's icons.


text:
Stellenbosch Theological Journal 2017, Vol 3, No 2, 299–317
DOI: http://dx.doi.org/10.17570/stj.2017.v3n2.a13
Online ISSN 2413-9467 | Print ISSN 2413-9459
2017 © Pieter de Waal Neethling Trust
The cinematic hidden Christ –His invisible divinity and his visible humanity
If we want to reflect upon the impact of the many 'hidden Christ'- images in modern films at a theologically responsible way, we need to incorporate that reflection into our doctrine of revelation. That will imply that we have to re-open the classical Gospel-Culture discussion. Especially in the United States we can recognize a lot of original approaches to this issue in Reformed circles (Wolterstorff, Dyrness, Begbie, Seidell, etc.). The main question to be put in this article will be: How can we develop criteria to assess the depiction of the divine in these films?
Key words
Christology; hidden Christ; immanence; revelation; symbol; transcendence
A hidden Christ can be considered as a fictional human being that can be seen as a new embodiment of the positive meaning that can be attributed in the present to the biblical Jesus figure.1 This meaning is usually not self‐evident, and that is why I speak of the hidden Christ.
I do not intend to offer a detailed analysis of the many art expressions of this hidden Christ in current Western art. I offered some of that kind of analyses in my book on Jesus Incognito, especially of the work of the writers JM Coetzee, Peter de Vries and Arnon Grunberg, the poets Les Murray and Czeslaw Milosz and the artists Andy Warhol, Frans Franciscus and Harald Duwe. Here I limit myself to the reflection upon the potential Christological impact of (also in the above-mentioned book analysed) films as Babette's Feast (1987) of Gabriel Axel, The Communicants (1963) of Ingmar Bergman, A Short Film about Love (1989) of Krzysztof Kieslowski and Breaking the Waves (1996) of Lars von Trier. The four main protagonists in these films, Babette, Tomas, Tomek and Bess, can be considered as hidden Christ figures. In this article I shall not repeat my analysis of these films. More than in the above-mentioned book I shall present a theological evaluation of their potential Christological impact. I intend to bring in touch two totally different fields of reflection: that of modern cinematology and that of current Dogmatics. I undertake this enterprise in the hope that this dialogue could throw some new light on classical discussions on revelation, the divine and the humane. Therefore, I ask: How do modern artists point to the divine dimension of Jesus' life? How do they depict the divine? As said, I shall concentrate upon the so-called hidden Christ films2, but most of what will be said in reference to them, can also be said about the hidden Christ in literature and the visual arts.3
In the more or less classic Jesus-films (e.g. The Gospel According to St. Matthew of Pasolini, Jesus Christ Superstar of Jewison, The Last Temptation of Christ of Scorsese and The Passion of the Christ of Gibson), the so-called biopics, Jesus' divine dimension is always already presupposed. That dimension is considered to be well-known. But that Jesus differs from the Jesus of the New Testament. There his divinity was still a point of dispute. Even to the disciples he remained a Jesus incognito for a long time. People constantly wondered who he was. Who among us would have recognized him? It is not immediately apparent that he is the Son of God. His divine descent is at several occasions object of explicit discussion (Matt. 4: 3 and 6; 26: 63 and 27: 40 and 43). Something similar can be said with respect to the hidden Christ in modern films. In that sense the so-called hidden Christ films are more biblical than the Jesus-films in spite of their often high claims of biblical faithfulness.4
2.Imaging the Divine
How can the divine be imagined in our de‐divinized, secularized, modern world?5 How can we imagine God when we do not have anymore any remembrance of Him? That was already a crucial question for Augustine.6 If we, however, do no longer have any images for the divine, we have, in fact, also no more images and words for the mystery of Jesus. The mystery of Jesus has everything to do with the fact that we cannot speak about the divine in him without the human and not about the human without the divine. That is the divine-human mystery that he embodies according to the early creeds of the ancient church. Therefore, the question how to depict the divine confronts us immediately also with the question how to depict the human.7
It is impossible to indicate in a straightforward fashion what is divine and what is human. No one can say definitively: that is typically divine, and that is pre-eminently human. So, we can repeat another question of Augustine as well: "What is it that I love in loving thee?"8 John 1:18 told us already: "No one has ever seen God". Where on earth can we find pointers to God's presence?
That is not just a modern question. Already in the Old Testament the place where God can be found, is point of discussion. How directly do we encounter God in his temple, in his deputies, the kings, in the words of the prophets, in the Torah? Sometimes some developments in interpretation can be traced in the Old Testament itself, but in other cases there is an ongoing discussion, for example with regard to the difference between false and true prophets. Like in Old Testament times, in our own current world experience nothing can be straightforwardly connected to God: each reference to God will be indirect and presuppose an interpretative framework.
3.What about the humane?
Does that also hold true for locating the humankind? It does not obtain, of course, for empirical human beings, but it does for what can be viewed as belonging to the core of humankind. The question asked about humankind in Psalm 8:4, "What is man that you are mindful of him, the son of man that you care for him?" is as open a question as that about God. The question of God is not only a question put by the human being but also one to the human being. Who are you? Where are you?9
Even though we cannot give a cut‐and‐dried answer, we continue, christologically speaking, to search for the truly human in the divine and the truly divine in the human. We seek true man in God and true God in man.10 The question about God is also the question about humankind, and vice versa. The meaning of the historical Jesus as true man can, therefore, be fathomed only if we see in him a reference to God as well. And who God is can be fathomed only by looking at this man. They thus presuppose each other. If we realize this, also our human existence in the identification with Jesus seems to be an open existence as well: open for experiences that transcend our empirical existence. Apparently the immanent frame within which the secularized Western human person has closed himself, can be broken through. Theologically we speak then from revelation.
4.Religious interpretations of films
The recognition of, for example, the religious dimension of a film often involves a certain symbolic interpretation of everyday reality. It is never a matter of an initially immediately obvious interpretation. In the Middle Ages, it was held that the 'book of nature' was of a piece with 'the book of revelation' (the Bible). Nature was, as it were, an open book. God could be recognized in it. Nowadays, at least, it can be said that straightforward pointers to God in nature are contested. But that does not mean that our experience of reality is now completely one‐dimensional.
In line with an important school of thought in symbol theory11 and the theology of the sacraments12 one finds a great deal of discussion in the literature on film on the simultaneity of the presence and absence of the symbolized in the symbol. This recognition of the concealing and revealing character of symbols has everything to do with the deep human experience that the referential character of everyday reality is never univocal but always ambivalent. Only seldom does reality speak clearly.
Theology has to take that ambivalence into account, as do films. Nonetheless, a film can evoke a high degree of openness for symbolic interpretations.13 Hidden Christ films especially appeal to that. That openness can be created in all kinds of ways, but in films this is often done in a striking way by evoking contrast experiences. Thus, as it were, an appeal is made silently 'from out of the depths' (de profundis) of human existence to something that could transcend it. Darkness appears to evoke light. Intriguing examples of this approach are films like A Short Film of Love (1989) of the Polish filmmaker Krzystof Kieslowski and Breaking the Waves (1996) of the Danish director Lars von Trier. 'Descent' then in fact constitutes the only possibility of referring to something higher (ascent).14 'Ascent' is thus a typical activity of the viewer on whom a film that begins below makes such an impression that the viewer's thoughts transcend it of themselves. Those thoughts can be the continuations of the images in the film but can, in contrast, also form the contrast of themselves. That character of some images to evoke contrasts can go beyond the filmmaker's intention. It can even be in explicit conflict with his intention.15 It is the viewer who takes these steps.
A rearrangement of images is constantly occurring in art, also with respect to the Christ figure. The public is being invited more and more to make their own identifications and distinctions between the Christ figure presented and the reality to which he refers. It thus always concerns a 'refigured' Christ.16 The word 'refiguration' has been stamped in recent decades by the French philosopher Paul Ricoeur. In connection with the analysis of literary texts, he developed the well-known triad of prefiguration, configuration, and refiguration.17 Applied to the person of Christ, this means that each writer always encounters a "Christ reality" that is already present. This prefigured reality constitutes his material that he configures to his own interpretation. The reader then looks at that and constructs his own reality from that. He appropriates the text existentially. That is the reader's own refiguration. To prevent this last step from being explained as a cheap 'running away with' the text, Ricoeur also speaks emphatically, when describing this appropriation process, of the continuing strangeness of texts. Appropriation is not a simple identification. It always concerns understanding through and at a distance, recognizing the strange, the other that a literary text presents. Ricoeur considers that recognition to be a condition for understanding. Otherwise, understanding becomes annexation.18
In line with his attention for the continuing strangeness of a text, Ricoeur also emphasizes that a text always refers to a certain real reality. That reality cannot be manipulated by the writer or by the reader. It transcends both. A text is not much more than 'a suggestion for a world' in which the reader can live only temporarily.19 It is not reality itself. Applied to the significance that is attributed to Jesus, this means that literary, cinematic, and other artistic images always refer to a reality that transcends the meaning we give to it. That is what is at issue in the refigured Christ. It always refers to a reality that transcends that of the artist and that of the audience. But that does not exclude the fact that both can become active in the process of attributing meaning.
6.A Christology 'from below'
What is exciting about these hidden Christ films is thus, again and again, the way in which the divine is depicted in everyday life. Sometimes, a filmmaker uses traditional symbols like a storm, thunder, or lightning (this accompanies Babette's arrival in Babette's Feast (1987) or the ringing of bells in heaven (which can be heard at the day of Bess' burial at sea in Breaking the Waves), but usually they use more original, surprising references.
We often see a reference to an interpersonal experience. Usually, it is an experience of the 'too much'. Sometimes, only a glance or a mere gesture indicates that experience. These openings have everything to do with what is called revelation in the Christian tradition.20 Each encounter with the Christ figure always involves that experience. In that encounter, the boundaries of what it is to be human are explored and also sometimes shifted and thus broken through. 'From below' and 'from above' come together, and then the Christological miracle occurs.
Theologically, that experience has everything to do with incarnation. That is always a twofold experience. On the one hand, it is the experience of making room for, of emptying (kenosis), of the death of the old Adam, of becoming internally empty. In that sense, it is a matter of the art of letting go. On the other hand, it is an experience of renewed fulfilment, of resurrection, of being born again. In the Christian tradition, this twofold experience is called 'dying and rising with Christ' (Colossians 2:12). It is brought to symbolic expression in the sacraments of Baptism and The Lord's Supper. Deliberately I am therefore linking incarnation primarily with the event of dying and rising and not just with the affirmation of the human aspect.21Incarnation implies, therefore, transformation and presupposes a two-fold movement, namely of kenosis and fulfilment, of negation and affirmation.22
The religious aspect of films can thus not be separated from everyday experiences. Every film that leaves the possibility open of a reference to a hidden Christ will always start with his humanity. Human behaviour will be central in such a film. In theological jargon, this means that it is always primarily a Christology 'from below'.23 That is given with the Christian belief in the incarnation, the Word becoming flesh. That is why, from a Christian point of view, the perception of our everyday reality can also be suggestive. It can contain hints of another reality. To quote T.S. Eliotʹs Four Quartets: "The hint half guessed, the gift half understood, is Incarnation." ('The Dry Salvages')
The hidden Christ is thus never an obvious Christ. Even in the New Testament it was not obvious that Jesus was the Christ, often he was not recognized as such. In addition to devices and artifices, filmmakers have two methods at their disposal for revealing a personage's Christ‐like character: the method of positive similarity or that of negative contrast. Babette, the main protagonist in Babette's Feast, and Tomek in A Short Film about Love are examples of the first method. David, one of the two protagonists in Steve Jakobs' film Disgrace (2009), based upon J.M. Coetzee's novel with the same title (1999), is an excellent example of the second method. Both methods have their pros and cons. Similarity usually brings with it a great deal of insightfulness but can also become too direct and thus too one‐dimensional. The contrast method is usually more surprising, but the contrast can also be so crushing that it no longer evokes anything—the one extreme does not always immediately evoke the other.
7.Characteristics of the Christ figure
Although I am inclined to admit that an objective, cinematic Christ figure does not exist,24 I do need to have in mind some kind of a blueprint that can serve as a working hypothesis in order to be able to begin a quest for the hidden Christ. Therefore, my proposal is to focus on four main and classical characteristics. They can be considered as more or less the summary of the Gospels and the creeds of the ancient church. As main aspects of Jesus' life I would like to point to his divine calling, his message of the coming Kingdom, the sacrifice of his life as implication of his calling and his resurrection. He felt himself called by God to announce the risky message of a radically different world, implying his own death, but confident of the completion of his life after his death.
In my proposal there is room for the mystery that the figure of Jesus Christ embodies according to the Christian tradition, namely the simultaneousness of his divine and human nature. Such a proposal is not meant to limit the artistic freedom in any way. It is not a frame imposed by an institution (the church). And the four above-mentioned identity markers do not all have to appear simultaneously. One of them can sometimes be so prominent that it is more than sufficient in itself to evoke the association with the Christ figure. They are nothing more than a tool for analysis. To be able to speak about a Christ figure a certain number of the characteristics mentioned here will have to be present in a sufficiently striking way and determine the life of the figure in question to a large extent.25
What is stated above can be explained by the well-known difference, in the philosophy of science, between a context of justification and discovery. The four identity markers of Jesus' life belong to the context of justification. What actually is observed in a film, belongs to the context of discovery of the viewer, to his concrete context of life.26
8.The Jesus and the Christ figure
I connected the transcendent (divine) aspect with the four identity markers of Jesus' life (calling, message, death and resurrection). There his identity as a revealer of divine nearness can be found. How we exactly should understand God's revelation (in the midst of concealment) in him is still a difficult question. Does it concern the revelation of a truly new aspect, never experienced in any person before him? Or is it the revelation of the reference character of that was hidden at first? Is it sometimes the nearness of the strange other whose existence we know only at a distance? Or is the revelatory aspect found precisely in the fact that naked human existence conceals nothing?27 We do not need to opt for one of these four options, although it will be clear that in the case of the first option (of radical transcendence), it would not make sense to speak of a hidden Christ. The last three options can easily be recognized in the so-called hidden Christ films.
Of course, the Christ figure and the historical Jesus figure cannot be separated, not in the reality of believers nor in the conceptualization of artists. The list of no less than 25 characteristics of the Christ figure compiled by the Australian film critic Anton Karl Kozlovic is a good example of this interconnectedness.28 These characteristics, however, contribute only in a limited way to the process of giving meaning. We must go beyond the assertion of all kinds of parallels between film figures and the biblical Jesus.29 The attribution of meaning does not come about by compiling a kind of checklist of parallels but is fully dependent on the capacity of the individual viewer to make up his mind. It is connected with what the film presents and what the viewer discovers regarding these presentations of Christ.
A creative interaction between these two poles can lead to new contemporary interpretations of the Jesus figure. Then, in my view, a Jesus figure becomes a Christ figure, i.e. a contemporized Jesus figure.30 I am speaking intentionally of a Christ figure and not of a Christ principle.31 The word 'figure' refers here to a concrete (be it also fictive) person who speaks and acts. The word thus intentionally evokes associations with the Old Testament prefigurations of Jesus in, for example, Adam, Joshua, Joseph, and David.
Perhaps, when discussing cinematic Christ figures, we could speak of post‐figurations. In both pre‐ and post‐figurations the typology is always only absorbed to a certain extent. The various types always show just a certain aspect of the figure who is central. He himself is the only one who completely embodies the image. Pre‐ and post‐figurations are thus never identical to him but are always more or less identifiable with him. The Christ figure is constantly found at the interface of identity and non‐identity with the historical Jesus figure. It does not, therefore, make much sense to argue that the cinematic Christ figure is distinct from the historical Jesus figure. That is logical and inherent to the idea of post‐figuration. It is more important to search for the similarities. Cinematic Christ figures always concern concretely presented fictional human individuals who, as independent film characters, point to the contemporary meaning of the Jesus figure.32 By alluding to the Jesus figure, the filmmaker (or viewer) introduces an additional depth dimension to this (in him‐ or herself) fully‐fledged character.33 As an independent character, the cinematic Christ figure is more than a 'mere' imitator of Jesus. Such a figure also points to the meaning of the person of Jesus. He does not do so as the homo optimus, the ideal human being, or as the embodiment of the condition humaine in general. Rather, he is the homo proximus, the human form that most closely approximates the words and deeds of Jesus and thus also confronts us with the divine nearness in Jesus. The Christ figure usually includes just enough aspects to break through the immanent frame of our secular mind and thus to create the possibility of reflecting anew on our own existence in the light of the God‐human mystery that Jesus personifies.34
I am not looking for an archetypal redeemer whose characteristics can be recognized in other religions. My first concern is a theological evaluation of what happens between film and theology with respect to the Jesus figure. I am convinced that the religious "disenchantment" (Entzauberung) of our worldview (Max Weber) has occurred only in part. A purely naturalistic approach to reality remains unsatisfactory for many artists.35 One can even point, perhaps, to a re‐enchantment, although without so far an extended, theoretical basis. There is still a theoretical 'loneliness' to which many artists condemned themselves in the previous century.36 I do not want to give that loneliness the final word, for it is still possible that similarities can be discovered between the central questions that lie at the foundation of Christianity and those that modern Western art has raised at regular intervals. There could be an 'analogical imagination'.37
Actually, theological ideas are then 'given back' to theology anonymously (incognito) by art. They are thus not lost but found in translation. The artistic depiction is then not a betrayal but a portrayal. The phrase Jesus incognito receives then such a positive connotation that I would like to speak of a hidden Christ. Apparently, there is "a compelling mysterious force within the creative human imagination that shapes fictional characters and dramatic plots in the image and likeness of the central character and events of the four Gospels of Matthew, Mark, Luke, and John."38 That brought me precisely to the 'fictional character' that I referred to as the hidden Christ.
9.Just a fictional figure?
Some might protest here. Is it all just about fiction? Are fictional figures able to represent the salvific meaning of Jesus Christ? How useful the concept of fiction here is, depends, of course, on our description of fiction. Let me quote here Nicholas Wolterstorff: 'by way' of fictionally projecting his distinct world the fictional may make a claim, true or false as the case may be, about our actual world.'39That means that the projected world of an artist bears the potential of showing us something of the actual world. Hence, Jeremy Begbie states: "A work of art, even if fictional, may lead us to change our attitude to the states of affairs with which it deals and which inform our day to day lives. This is not a case of confusing the imagined world with the real world, but of having our experience of the everyday world enriched and illuminated by the imagined world."40
Sooner or later all art interpretations that point to an openness for Christian interpretations must be brought into connection with the three guiding principles of Christian hermeneutics: the Bible, the Christological creeds of the ancient Church and the central elements of the current Christian liturgy. In essence, these guiding principles obtain for all world religions. It concerns the relation to the holy book(s), the tradition and the contemporary experience. The question if something fits within a certain religion will always be decided on the basis of the holy text(s), the more or less sanctioned interpretations of it in the course of its history and the actual experience of it in regular celebrations. This interaction is needed, not to force them into a straitjacket but to initiate a dialogue between historical and modern interpretations. Otherwise, (the history of) theology and art remain closed off from each other. One could speak here of the possibility of a two-sided transformation.41 New interpretations can throw new light on the Christian tradition, which will in turn provide depth to new interpretations and sometimes supplement them (critically or not).42 Actually, that means not only that the Christ figure continually receives new meanings in new art forms but also that the same Christ figure influences new interpretations from his own historical and contemporary expressive power. It thus has to do with a continuous interaction, with really two way traffic.43 Therefore, by speaking about two-sided transformation I underscore the transformative power of art as well as that of Christ.44 By speaking here of interaction we are taking seriously our own culture as a source of theology, provided, that the four above-mentioned identity markers of Jesus can be applied in a substantial way.
10.Two-sided transformation
New artistic forms can contain hidden allusions to the role of central characters and events in the four gospels.45 Why, as Christians, should we be content to see Christ only there where we expect to see him?46 That entails not only that the New Testament can be applied to understand cinematic interpretations of Christ but also that these interpretations can also be applied in turn to understand the New Testament from the perspective of our contemporary culture. It is in this context that the notion of reversing the hermeneutical flow comes up.47 It means, that the hermeneutical flow moves not only from the text to the context, but also from the context to the text. In the history of Christianity there are many examples that artistic works and sometimes philosophical reflections played an important role in the existential interpretation of Bible texts.48 One could think here of Bach's Matthew and John Passions, but also of Rembrandt's famous depiction of the return of the Prodigal Son (Luke 15:11‐32) and Kierkegaard's explanations of Abraham's willingness to sacrifice Isaac (Genesis 22:1‐19) in Fear and Trembling. Karl Barth would for sure point here to Mozart.49
I am convinced that new images can be added from films to the familiar biblical ones in a way similar to what repeatedly happened throughout church history in other art areas like philosophy, music, painting and literature. In Eastern Orthodoxy especially, it is a widely held notion that the (charismatic) icon painter educates through his icons not only ordinary believers but theologians as well. A two‐way street has always been presupposed there. Believers approach the icons, but the icons approach the believers as well. Hence, instruction into icon art is included in theological education in Eastern Orthodoxy. Film could also partly fulfil this role of icons. Of course not all films by far could assume that role or be up to it. But in any case, it cannot be denied that films are also sources of the attribution of meaning. Films and the Bible can then be mutually clarifying. Knowledge of the New Testament can contribute to the understanding of the Christ figure in film, but the Christ figure in film can, in turn, also contribute to the understanding of the New Testament Jesus. The latter has been neglected far too long in theology – to its detriment. In the near future, much will depend on the theological and spiritual sensitivity to develop a more elaborated Christian hermeneutics of modern art.50
Barth, K. "Wolfgang, Amadeus Mozart, Zürich 1956", trans. by W.M. Mosse, in W. Leibrecht (ed.), Religion and Culture: Essays in Honor of Paul Tillich (London: Harper & Brothers 1959), 61–78.
Baugh, L. Imaging the Divine: Jesus and Christ-figures in Film (New York: Rowman & Littlefield Publishers 1997).
Begbie, J. Voicing Creation's Praise: Towards a Theology of the Arts (Edinburgh: T & T Clark 1991).
Brinkman, M. E. Sacraments of Freedom (Zoetermeer: Meinema 1999).
Brinkman, M. E. The Non-Western Jesus: Jesus as Bodhisattva, Avatara, Guru, Prophet, Ancestor or Healer? Cross Cultural Theologies (London: Equinox 2009).
Brinkman, M. E. Jesus Incognito: The Hidden Christ in Western Art since 1960 (Amsterdam-New York: Rodopi 2013).
Chauvet, L.-M. Du Symbolisme au Symbole: Essai sur les Sacrements (Paris: Cerf 1979).
Chauvet, L.-M. Symbole et Sacrement: Une Relecture Sacramentelle de l'Existence Chrétienn (Paris: Cerf 1988).
De Gruchy, J. W. Christianity, Art and Transformation (Cambridge: Cambridge University Press 2001).
De Gruchy, J. W."Holy Beauty: A Reformed Perspective on Aesthetics within a World of Ugly Injustice", in B. A.Gerrish (ed.), Reformed Theology for the Third Christian Millennium (Westminster: John Knox Press 2003), 13–25.
Deacy, C. "Screen Christologies: An Evaluation of the Role of Christ-figures in Film". The Journal of Contemporary Religion 14 (1999): 325–337.
C. Deacy, "Reflections on the Uncritical Appropriation of Cinematic Christ-Figures: Holy Other or Wholly Inadequate?" Journal of Religion and Popular Culture 13 (Summer 2006): 1–16.
Deacy, C. "Redemption", in J. Lyden (ed.), The Routledge Companion to Religion and Film (London-New York: Routledge 2009), 351–367.
Detweiler, R. "The Christ Figure in American Literature", in M. E. Marty and D. G. Peerman (eds.), New Theology, Vol. II, (New York-London: Macmillan 1965), 297–316.
Downing, Chr. "Typology and the Literary Christ-Figure: A Critique". The Journal of the American Academy of Religion 36 (1968) 13–27.
Dyrness, W. A. Reformed Theology and Visual Culture: The Protestant Imagination from Calvin to Edwards (Cambridge-New York: Cambridge University Press 2004).
Ferlita, E. "The Analogy of Action in Film", in J. R. May and M. S. Bird (eds.), Religion in Film, 44–57.
Finaldi, G. The Image of Christ (London: National Gallery Company 2000).
Flesher, P. V. M and Torry, R. "Filming Jesus: Between Authority and Heresy". The Journal of Religion and Film 8 (2004): 1–19.
Groupe des Dombes, L'Esprit Saint, l'Église et les Sacrements (Taizé: Presse de Taizé 1979).
Gunton, C. "Mozart the Theologian". Theology 94, no. 761 (1991): 346–349.
Houtepen, A. God: An Open Question (London: Continuum 2002).
Hurley, N. P. "Cinematic Transfigurations of Jesus", in J. R. May and M. S. Bird (eds), Religion in Film, 61–78.
Johnston, R. K. Reel Spirituality: Theology and Film in Dialogue (Grand Rapids: Baker Academic 2006).
Jüngel, E. "Humanity in Correspondence to God: Remarks on the Image of God as Basic Concept in Theological Anthropology", in Theological Essays, Vol. I (Edinburgh: T and T Clark 1989), 124–153.
Kozlovic, A. K. "The Structural Characteristics of the Cinematic Christ-Figure". Journal of Religion and Popular Culture 8 (Fall 2004): 1–71.
Kreitzer, L. J. The New Testament in Fiction and Film: On Reversing the Hermeneutical Flow (Sheffield: JSOT Press 1993).
Kreitzer, L. J. Gospel Images in Fiction and Film: On Reversing the Hermeneutical Flow (London: Sheffield Academic Press 2002).
Kuschel, K.-J. The Poet as Mirror: Human Nature, God and Jesus in Twentieth-Century Literature (London: SCM Press 1999).
Malone, P. "Jesus on Our Screens", in J. R. May (ed.), New Image of Religious Film (Kansas City: Sheed and Ward 1997), 57–71.
Marion, J.-L. The Visible and the Revealed (New York: Fordham University Press 2008).
May, J. R. "Visual Story and the Religious Interpretation of Film", in J. R. May and M. S. Bird (eds.), Religion in Film (Knoxville: University of Tennessee Press 1984), 23–43.
Morgan, D. 'Enchantment, Disenchantment, Re-Enchantment', in J. Elkins and D. Morgan (eds.), Re-Enchantment (London: Routledge 2009), 3–22.
Panikkar, R. Trinity and the Religious Experience of Man (Maryknoll: Orbis 1973).
Reichenbach, H. Experience and Prediction. An Analysis of the Foundations and the Structure of Knowledge (Chicago: The University of Chicago Press 1938).
Reinhartz, A. Jesus of Hollywood (New York: Oxford University Press 2007).
A. Reinhartz, "Jesus und Christ-Figures", in J. Lyden (ed.), The Routledge Companion to Religion and Film (London-New York: Routledge 2009), 420–439.
Ricoeur, P. The Symbolism of Evil (New York: Harper & Row 1967).
Ricoeur, P. Interpretation Theory: Discourse and the Surplus of Meaning (Fort Worth: Texas Christian University Press 1976).
Ricoeur, P. Time and Narrative, Vol. I (Chicago: University of Chicago Press 1984).
Seidell, D. A. God in the Gallery: A Christian Embrace of Modern Art (Grand Rapids: Baker Academic 2008).
Stern, R. C. Jefford, C. N. and Debona, G. Savior on the Silver Screen (New York: Paulist Press 1999).
Stoker, W. "Culture and Transcendence: A Typology", in W. Stoker und W. L. van der Merwe (eds.), Looking Beyond? Shifting Views of Transcendence in Philosophy, Theology, Art, and Politics (Amsterdam-New York: Rodopi 2012), 5–28.
Tatum, W. B. Jesus at the Movies: A Guide to the First Hundred Years (Santa Rosa: Polebridge Press, 2004).
Tracy, D. The Analogical Imagination: Christian Theology and the Culture of Pluralism (New York: Crossroad 1981).
Wolterstorff, N. Art in Action: Towards a Christian Aesthetic (Grand Rapids: Eerdmans 1980).
1 M. E. Brinkman, Jesus Incognito: The Hidden Christ in Western Art since 1960 (Amsterdam-New York: Rodopi 2013), pp. 5 and 41. Martien E. Brinkman is professor (emeritus) of ecumenical/intercultural theology at the Vrije Universiteit, Amsterdam, The Netherlands. He published The Tragedy of Human Freedom (2003), The Non-Western Jesus (2009) and Jesus Incognito (2013).
2 See among others, W. B. Tatum, Jesus at the Movies: A Guide to the First Hundred Years(Santa Rosa: Polebridge Press, 2004); R. C. Stern, C. N. Jefford and G. Debona, Savior on the Silver Screen(New York: Paulist Press 1999); C. Deacy, "Screen Christologies: An Evaluation of the Role of Christ-figures in Film". The Journal of Contemporary Religion 14 (1999): 325–337 and A. Reinhartz, Jesus of Hollywood (New York: Oxford University Press 2007).
3 R. Detweiler, "The Christ Figure in American Literature' in: M. E. Marty and D. G. Peerman (eds.), New Theology, Vol. II (New York-London: Macmillan 1965), 297–316 and K.-J. Kuschel, The Poet as Mirror: Human Nature, God and Jesus in Twentieth-Century Literature (London: SCM Press 1999).
4 P. V. M Flesher and R. Torry, "Filming Jesus: Between Authority and Heresy". The Journal of Religion and Film 8 (2004): 1–19. See for the difference between the so-called hidden Christ films and Jesus films, A. Reinhartz, "Jesus und Christ-Figures", in J. Lyden (ed.), The Routledge Companion to Religion and Film (London-New York: Routledge 2009), pp. 420–439.
5 L Baugh, Imaging the Divine: Jesus and Christ-figures in Film (New York: Rowman & Littlefield Publishers 1997).
6 Augustine, Confessions X.17.
7 G. Finaldi, The Image of Christ (London: National Gallery Company 2000), p. 45: "The most difficult task for the artist seeking to represent Christ is how to depict his dual nature: fully human and fully divine."
8 Augustine, Confessions X.6.
9 A. Houtepen, God: An Open Question (London: Continuum 2002).
10 E Jüngel, "Humanity in Correspondence to God: Remarks on the Image of God as Basic Concept in Theological Anthropology", in Theological Essays, Vol. I (Edinburgh: T and T Clark 1989), pp. 124–153.
11 P. Ricoeur, The Symbolism of Evil (New York: Harper & Row 1967), pp. 10–18.
12 L.-M. Chauvet, Du Symbolisme au Symbole: Essai sur les Sacrements (Paris: Cerf 1979), 77–79 and 91–93; Idem, Symbole et Sacrement: Une Relecture Sacramentelle de l'Existence Chrétienn (Paris: Cerf 1988), 85–115 and Groupe des Dombes, L'Esprit Saint, l'Église et les Sacrements (Taizé: Presse de Taizé 1979), pp. 36 and 57.
13 J. R, May, "Visual Story and the Religious Interpretation of Film", in J. R. May and M. S. Bird (eds.), Religion in Film (Knoxville: University of Tennessee Press 1984), pp. 23–43.
14 E. Ferlita, "The Analogy of Action in Film", in J. R. May and M. S. Bird (eds.), Religion in Film, pp. 44–57, esp. p. 54.
15 Ibid., pp. 55–56.
16 L. Baugh, Imaging the Divine, pp. 3–6 and pp. 234–237.
17 P Ricoeur, Time and Narrative, Vol. I (Chicago: University of Chicago Press 1984), pp. 52–87.
18 Idem, Interpretation Theory: Discourse and the Surplus of Meaning (Fort Worth: Texas Christian University Press 1976), pp. 91–94.
19 Ibid., 94.
20 J.-L. Marion, The Visible and the Revealed (New York: Fordham University Press 2008), pp. 18–48 and pp. 119–121.
21 M. E. Brinkman, Sacraments of Freedom (Zoetermeer: Meinema 1999), pp. 64–68.
22 J. Begbie, Voicing Creation's Praise: Towards a Theology of the Arts (Edinburgh: T & T Clark 1991), p. 214 and also M. E. Brinkman, Jesus Incognito, p. 49.
23 Strictly speaking it makes no sense to speak of a Christology 'from above' and 'from below', because ‒ as said above ‒ the essence of every Christology is the mystery of the interaction of 'above' and 'below'. Notwithstanding this generally acknowledged fact, theologians often continue to use these two labels to discern two different approaches in Christology.
24 C. Deacy, "Reflections on the Uncritical Appropriation of Cinematic Christ-Figures: Holy Other or Wholly Inadequate?" Journal of Religion and Popular Culture 13 (Summer 2006): 1–16.
25 P. Malone, "Jesus on Our Screens", in J. R. May (ed.), New Image of Religious Film (Kansas City: Sheed and Ward 1997), pp. 57–71, esp. pp. 69–70.
26 H. Reichenbach, Experience and Prediction. An Analysis of the Foundations and the Structure of Knowledge (Chicago: The University of Chicago Press 1938), p. 33.
27 These four options can be connected with four different types of transcendence: radical transcendence, immanent transcendence, transcendence of the other and radical immanence, respectively. Cf. W. Stoker, "Culture and Transcendence: A Typology", in W. Stoker und W. L. van der Merwe (eds.), Looking Beyond? Shifting Views of Transcendence in Philosophy, Theology, Art, and Politics (Amsterdam-New York: Rodopi 2012), pp. 5–28.
28 A. K. Kozlovic, "The Structural Characteristics of the Cinematic Christ-Figure". Journal of Religion and Popular Culture 8 (Fall 2004): 1–71.
29 C. Deacy, 'Reflections on the Uncritical Appropriation', p. 4.
30 M. E. Brinkman, Jesus Incognito, p. 41.
31 In modern Indian theology, e.g., we can recognize a certain preference to speak about a 'christic principle' instead of about the concrete person of Jesus Christ. Cf. R. Panikkar, Trinity and the Religious Experience of Man (Maryknoll: Orbis 1973), 54 and 68. See also, M. E. Brinkman, The Non-Western Jesus: Jesus as Bodhisattva, Avatara, Guru, Prophet, Ancestor or Healer? Cross Cultural Theologies (London: Equinox 2009), pp. 149–157.
32 ME Brinkman, Jesus Incognito, p. 41.
33 Chr. Downing, "Typology and the Literary Christ-Figure: A Critique". The Journal of the American Academy of Religion 36 (1968): 13–27, esp. 25–26.
34 R Detweiler, 'The Christ Figure in American Literature', pp. 312–315.
35 D. Morgan, 'Enchantment, Disenchantment, Re-Enchantment', in J. Elkins and D. Morgan (eds.), Re-Enchantment (London: Routledge 2009), pp. 3–22, esp. pp. 9–14.
36 J Begbie, Voicing Creation's Praise, pp. 186–204.
37 D. Tracy, The Analogical Imagination: Christian Theology and the Culture of Pluralism (New York: Crossroad 1981) and E. Ferlita, 'The Analogy of Action in Film', pp. 44–57.
38 N. P. Hurley, "Cinematic Transfigurations of Jesus" in: J. R. May and M. S. Bird (eds), Religion in Film, pp. 61–78, esp. p. 75.
39 N. Wolterstorff, Art in Action: Towards a Christian Aesthetic (Grand Rapids: Eerdmans 1980), p. 125.
40 J. Begbie, Voicing Creation's Praise, p. 252.
41 The idea of the two-sided transformation is the key concept of my books on The Non-Western Jesus (17–23) as well as on Jesus Incognito (46–54).
42 C. Deacy, "Redemption", in J. Lyden (ed.), The Routledge Companion to Religion and Film (London-New York: Routledge 2009), pp. 351–367, esp. pp. 358–359.
43 Idem, 'Reflections on the Uncritical Appropriation', pp. 13–16.
44 See also, R. K. Johnston, Reel Spirituality: Theology and Film in Dialogue (Grand Rapids: Baker Academic 2006), p. 251: "Here the theological dialogue needs to take both critical polls into account. That is, the portrayal of the Christ-figure by the movie adds new understanding to who Christ is. It needs to be considered on its own terms. At the same time, because the biblical portrayal of Christ has been used metaphorically, the Christ-story can clarify the character's situation and add depth and authority to the characterization. It too has a place at the critical table."
45 N. P. Hurley, 'Cinematic Transfigurations of Jesus', p. 75 and A. K. Kozlovic, 'The Structural Characteristics of the Cinematic Christ-Figure', p. 6.
46 D. A. Seidell, God in the Gallery: A Christian Embrace of Modern Art (Grand Rapids: Baker Academic 2008), p. 74.
47 L. J. Kreitzer, The New Testament in Fiction and Film: On Reversing the Hermeneutical Flow (Sheffield: JSOT Press 1993); Idem, Gospel Images in Fiction and Film: On Reversing the Hermeneutical Flow (London: Sheffield Academic Press 2002), p. 8; C. Deacy, 'Reflections on the Uncritical Appropriation', 14 and RK Johnston, Reel Spirituality, p. 253.
48 L. J. Kreitzer, The New Testament in Fiction and Film, pp. 151–152.
49 K. Barth, "Wolfgang, Amadeus Mozart, Zürich 1956", trans. by W.M. Mosse, in W. Leibrecht (ed.), Religion and Culture: Essays in Honor of Paul Tillich (London: Harper & Brothers 1959), pp. 61–78. See also C. Gunton, 'Mozart the Theologian', Theology, 94, no. 761 (1991): 346–349.
50 The building blocks are already there, see J. W. de Cruchy, Christianity, Art and Transformation (Cambridge: Cambridge University Press 2001); Idem, 'Holy Beauty: A Reformed Perspective on Aesthetics within a World of Ugly Injustice', in B. A.Gerrish (ed.), Reformed Theology for the Third Christian Millennium (Westminster: John Knox Press 2003), pp. 13–25; W. A. Dyrness, Reformed Theology and Visual Culture: The Protestant Imagination from Calvin to Edwards (Cambridge-New York: Cambridge University Press 2004) and the in this article already mentioned works of N. Wolterstorff, J. Begbie, D. A. Seidell and W. Stoker.


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Lindsey Seegers
Food Systems Manager
Lindsey has participated in innovative solutions to hunger for nearly a decade. As a Virginia native, her earliest memories of encountering unsheltered men and women on the sidewalks of the Nation's capital sparked her lifelong interest in food justice. Since age 12, she volunteered in soup kitchens, eventually following an unconventional path to combine her studies in Social Work and passion for cooking. She began in food banking at Manna Food Center as Program Manger of Nutrition Education, where she taught cooking classes and led over 400 grocery stores to teach pantry participants about healthy shopping on a budget. At Manna, she also facilitated the retrofitting of a 72-passenger schoolbus turned licensed commercial kitchen and pop-up food pantry.
Lindsey uprooted to San Diego upon accepting the role of Distribution Network Engagement Manager of Feeding San Diego. There, she managed the County's Retail Rescue Program and Starbucks Foodshare Program that redirected 13 million pounds of rescued food to San Diegans in 2018. Her work around food insecurity and nutrition has been featured by The Kitchn, Share Our Strength, Green Door Gourmet, and Voice of America. Lindsey is an active member of the International Association of Culinary Professionals, as well as a Licensed Episcopal Preacher.
Lindsey is so excited to join the Kitchens for Good team, to support the full circle of hunger relief: putting good people and good food to work for both our students and our community


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You'll often hear a Lydian sound played in a lot of epic intros and outros of songs.
A lot of Jazz musicians will also play a Lydian sound when resolving to a Major chord.
In this bass lesson, I'll show you what the Lydian sound is. You'll also learn the quickest way to evoke this sound in your bass solos, using a specific triad and scale.
What is the Lydian Sound?
The Lydian sound is similar as the Major Scale. There is one key difference: The 4th degree of the scale is a raised 4th.
An E Major Scale has these notes: E, F#, G#, A, B, C#, D#
An E Lydian Scale has these notes: E, F#, G#, A#, B, C#, D#
It's the raised 4th degree over a Major sound that will immediately create a Lydian sound.
There are many ways to do exploit the raised 4th degree and I'll show you 2 of my favorite ways.
Here's an effective Major Triad and Minor Pentatonic Scale that will give you that Lydian sound
In the key of E Major, the raised 4th degree is an A#.
You can always use the Lydian Mode Scale. But, there are 2 other approaches that can also exploit this raised 4th degree, the A#.
Approach #1: Play a Major Triad a whole-step above the root
In the key of E Major, playing an F# Major Triad will give you these notes: F#, A#, C#
Your notes will play the 2nd degree, raised 4th degree, and the 6th degree of E Major.
This is a very direct way of getting that Lydian sound.
Approach #2: Play a Minor Pentatonic Scale a half-step below the root
In the key of E Major, playing a D# Minor Pentatonic Scale will give you these notes: D#, F#, G#, A#, C#
Your notes will play the major 7th degree, 2nd degree, 3rd degree, raised 4th degree, and the 6th degree of E major.
Minor Pentatonic Scale substitutions are great because we already know minor pentatonic lines. So, you're able to apply your previous knowledge.
Minor Pentatonic Scale substitutions are great because we already know minor pentatonic lines. So, you're able to apply your previous knowledge.
Like this bass lesson? Please help support this site by clicking on the referral link below. I'll receive a small commission from your total purchase from Amazon (even if you don't get the referred item). This will help pay for hosting costs and keep the creation of free online bass lessons flowing. Every penny will help. Thank you and enjoy!
Triad Pairs are super effective in capturing a specific sound right away and also simplifying your approach to Jazz improvisation. Check out this book on Amazon: Triad Pairs for Jazz: Practice and Application for the Jazz Improvisor


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Consequently, we guarantee that there won't be any unpleasant surprises once the day of delivery comes. Include the entire name of whoever discovered each proof. Let's say, by way of example, which you're selling glasses of lemonade, and you wish to make 12 glasses.
Life After Pythagoras Theorem Question
To be able to interpret what's really happening in the strange Venusian atmosphere, it is crucial to acquire a comprehension of how Venus interacts with its environment in space. Let's take a better look at this theorem and the way that it's used so that we can figure out the remedy to this issue.
The quantities of questions might vary according to timing and the degree of your students. Honeybees provide a good example. On problems such as this, you should first draw a perfect triangle that models the circumstance.
Determine whether the term problem can be modeled by a correct triangle. Nobody ought to think about learning just as work that's unwanted. Now return to the original issue.
What http://www.moed.bm/ You Should Do to Find Out About Pythagoras Theorem Question Before You're Left Behind
To compute the distance, you must be aware of the coordinates of the 2 points. One very prominent figure is the perfect triangle. Let's find the region of the trapezoid by summing the region of the 3 right triangles.
You may use any set of numbers which make a perfect triangle. To begin with, make certain you understand it can only be used whenever you have a correct triangle. This exceptional sort of triangle can be discovered in both natural and manmade designs.
Lies You've Been Told About Pythagoras Theorem Question
Below are a couple examples of what I mean. The worksheets are randomly generated, which means you can create several worksheets without repeating the exact same problem sets. You will be given a list containing some questions we've been asked about out-of-school issues that involve Pythagoras Theorem.
In learning mathematics, the subjects associated with Pythagoras play an important function. Geometry is an enormous portion of our world. Students find everything more interesting when they have the ability to use technology to learn.
Pythagoras is believed to have died at the time of about 75 decades, in about 495 BC. NASA also uses triangulation to find out the job of spacecraft. Car navigation methods utilize this method.
Carpenters can use this Pythagorean Triple to be able to be sure that the structure that they're building is square. It follows that we take into account all your instructions which are more specific than basic features included in the purchase form. The Conjecture they are pursuing may be The region of the semi-circle on the hypotenuse of an ideal angled triangle is equivalent to the sum of the regions of the semi-circles on both of the other sides.
The only criterion for a proper triangle is the fact that it has one right angle. In the building field, right triangles are available everywhere and should you know the measurements of two of the surfaces of the perfect triangle, then you will find the measurement of the third without measuring. This theorem is discussing the region of the squares that are made on every side of the correct triangle.
At length, it's possible to discover the region of the of an isosceles triangle. The very first proof starts off as rectangle and afterward is separated into three triangles that individually include a correct angle. The side that's opposite to the 90 degree angle is called the hypotenuse.
Pythagoras Theorem Question Fundamentals Explained
First you have to compose an equation utilizing the Pythagorean Theorem. To learn what it tells us about a suitable triangle, take a look at the site Pythagorean Theorem and after that answer the next question. These triangles are called Pythagorean Triangles.
Proofs which use similarity. It is essential that you comprehend the algebraic representation of the Pythagoras Theorem along with the geometric concepts behind it. The proofs presented here are simply some of the many proofs of the Pythagorean Theorem.
Actually if there's no appropriate angle we can still get an equation. however, it's known as the Cosine Rule. Pythagoras' Theorem is among the oldest and famous theorems known today. Pythagoras was made to retire and leave the region.
Bee pollen how to take it's largely based on the source of which you acquire bee pollen products along with which specific product you're taking. It is possible to then prove mathematically that there's no ratio of whole numbers which may produce 2. Conclusion It has to be remembered that for a central limit theorem to work, there has to be a sample size that's big enough.
The relationship of the two energies produces a third energy. Exploratory data analysis can be useful in setting the size of the sample necessary for the theorem. You may choose to look at specific values of a, b, and h before you visit the overall case.
The paradox stems, however, from the false assumption that it is an impossible task to finish an endless number of discrete dashes in a finite time, although it is quite tough to definitively show the fallacy. A day when you're able to celebrate a lovely theorem discovered nearly 2500 decades ago. This would signify the universe would differ in various directions, meaning no rotational symmetry.


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No Joke! The Role of Humor in Customer Experience
View this on drjosephm.podbean.com
Humor can be used to change the world around you and as a tool for connecting with customers. This podcast details how a customer experience professional masterfully used humor to deescalate a complaint. Although humor can be complex, here are some easy tips to help you utilize it in your customer experience.


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WASHINGTON:- From the White House schedule, a meeting with lawmakers vanished. A ceremonial executive order signing was abruptly cancelled. A statement about how a signature campaign promise will paid for walked back.
The first days of any new president's term are disorderly, as a sprawling government bureaucracy and overwhelming global responsibilities are suddenly thrust upon an administration. Which is trying to hit the ground running &sometimes just to get the phones working.
In Trump's White House, a day of confusion and change
President Donald Trump sits at his desk on Air Force One upon his arrival at Andrews Air Force Base, Md, Thursday, Jan. 26, 2017. At the center is Chief of Staff Reince Priebus, Pablo Martinez Monsivais AP Photo.
Thursday, it was a chaotic day in President Donald Trump's White House. When the president left the White House nearly an hour late for his first trip away from Washington. The confusion began to start, a quick jaunt to Philadelphia to speak to a Republican congressional retreat.
The meeting between Trump and Utah Sen had confirmed while airborne, White House aides. Texas Rep, Orrin Hatch and Kevin Brady that was scheduled for the president's return had postponed until next week and that Hatch unbeknownst to the press, had actually met with Trump the night before.
Trump's Travel Restrictions Prompt Protests across US
Spicer said that the administration was still sorting out the sequence of upcoming orders and the Trump was still making suggestions. The press secretary said that, "As you can probably tell, he is very hands-on when it comes to these executive orders".
And the order itself, which would commission an investigation into unsubstantiated claims of widespread stemmed not from a campaign promise, voter fraud. But rather Trump's public musings on the subject in recent days. An environment of chaos is not new for Trump, who at times seems to thrive on disorder.
He sowed chaos in the campaign which are the pitting factions of aides against each other. He frequently changed his mind on the issues based on his most recent conversations. His aides often woke up the surprised to Trump's early morning, out-of-nowhere pronouncements via Twitter.


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Following the Industrial Property Code's entry into force at the beginning of the year, the new Regulation on the Implementation of the Industrial Property Code has now been published in the Official Gazette and has also entered into force.
The recently dismissed appeal against a hearing officer's decision to refuse the registration of the mark SOVEREIGN in respect of "gold commemorative coins" is a reminder that the threshold for success on appeal from a hearing officer – whether to the appointed person or the High Court – is high.
Nestlé has been dealt another blow in its ongoing battle to register the shape of its Kit Kat chocolate bar as a UK trademark. The Court of Appeal has recently dismissed Nestlé's appeal which sought to overturn an earlier High Court finding that Nestlé's three-dimensional Kit Kat shape trademark had not acquired distinctive character.
The new Cayman Islands trademarks law will be implemented on August 1, transforming how international brand owners attain protection in the Caribbean jurisdiction.
In a surprise move, Michelle Lee, director of the US Patent and Trademark Office, has resigned after four years in the role. The discussion over her replacement will no doubt focus on the patent background of potential candidates. However, it is important that trademarks are not lost in the mix.
A recent decision of the EU General Court regarding the signs GLOBO MEDIA and TV GLOBO PORTUGAL illustrates the importance of differences between a sign as registered and as actually used in trade.
The Trademark Trial and Appeal Board (TTAB) recently decided on a dispute between factions of the Azeka family over the right to use the family name for ribs and sauce. The TTAB denied the applicant registration of a mark deemed to be merely a surname, while the opposer was held to have abandoned the identical mark.
In 2016 Caesarstone appealed the decision of the principal assistant registrar to allow an opposition filed by Ceramiche Caesar against an application for its house mark. The High Court upheld the appeal, but the Court of Appeal disagreed with the High Court's rulings. This decision clarifies that, notwithstanding the differences in length and structure, the distinctive and dominant component of a mark would still be the core consideration in determining similarity.
LegalForce RAPC, the law firm behind the Trademarkia search engine, has revealed to World Trademark Review that it is moving into the "next phase of the company" by implementing quality initiatives, forging new law firm partnerships and conducting an international recruitment drive. The move is an effort to bring more work in-house and diversify its global offering – and will add further competition to the legal services space.
In Environmental Manufacturing LLP v EU Intellectual Property Office (EUIPO), the EU General Court confirmed a decision rendered by the EUIPO First Board of Appeal that two signs representing the head of an animal were visually similar to an average degree under Article 8(1)(b) of the EU Trademark Regulation.
A website owned by a company related to notorious trademark filer Michael Gleissner has been found imitating the EU Intellectual Property Office's search platform TMview. The site has been described as a "phishing page" by one attorney, but an insider source tells World Trademark Review it is more likely that the entertainment tycoon is looking to sell or license the domain to the EUIPO.
The Electronic Frontier Foundation (EFF) and Public Knowledge have published a report advising domain name registrants that, in a bid to "minimise exposure to trademark bullying", they should avoid registering domains in the new gTLD environment. While counsel may object to the 'bullying' label being extended to legitimate enforcement efforts, the report could have a positive payback for policing strategies.
The EU Intellectual Property Office (EUIPO) Board of Appeal recently confirmed the EUIPO Cancellation Division decision that, when examining the use of an earlier registration for the purpose the EU Trademark Regulation, the strict conformity between the signs as used and registered is unnecessary provided that the difference is in negligible elements and that these are broadly equivalent.
In a recent case, the Beijing High Court applied both Articles 13.1 and 31 of the 2001 Trademark Law to grant full protection to an unregistered trademark and clarified the assessment criteria of well-known status in the internet industry.
It has been reported that Nike is preparing to sell products directly through Amazon.com for the first time, utilising the latter's new brand registry offering. As well as representing a potential commercial win for both companies, the move could highlight the benefits of the e-commerce giant's new programme for brands fighting the spectre of counterfeit goods on the platform.


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Iraqi PM
Adel Abdulmahdi and newly appointed PM of Kurdistan Regional Government (KRG) Masrour
Barzani have recently been holding talks to finalize an agreement on the oil
and gas issue.
Report has prepared a 448-word report to shed more light on the talks and tell what
about the outcome so far.
We are
currently looking for freelance reporters. If you are interested, send your resume to [email protected].
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Women's No Gym Fail Here Tee
Women's No Gym Fail Here Tee
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