text:
Thursday, July 16, 2009
Batman + The Blanket
Another first. Jo Ann and I came home from dinner with Peter and Brie. Julie is in town again from New Orleans; she was with us too. We pulled up in front of the house around 10 p.m. Grady walked outside as I put the car into park. When someone greets you outside, you know something's up. Grady wanted to ask us something. Grady wanted to sleep with his and Pablo's favorite blanket. It's a gorgeous, colorful, exotic, handmade blanket from Kristal Moffett's store Black Sheep Knittery.
We bought it at the Walther School fund raiser a few years ago. The kids fell in love with it way back when, and we always loved that they loved it. I mean, it's a blanket, not a toy, so it's odd and wonderful that our boys have such a strong attachment to it. They'd bundle up in it watching TV. They'd bring it to bed when they slept together.
There's one other thing about this favorite blanket: we wrapped Pablo's body in it when we carried him out to the Forest Lawn Mortuary van. There was no way we were going to let the van driver cover him in some utilitarian vinyl nonsense and carry him out on a gurney. Not our boy. F that. We did it our way. I need to say something here: Peter guided us into this idea. He walked up to me and said that he could arrange for me to carry Pablo out, when we were ready. No rush. It was exactly what we wanted, in line with everything we believe and are. In that exact moment, I'm not sure we would have thought of this. The world was crashing at that moment. Crashing and putting itself back together. And crashing again. Like a machine that was made to crash and reassemble in rapid succession. Peter's calm and Peter's clarity in that moment is something I will never forget. This might be the place where I would use that cliche 'I aspire to have such clam and clarity.' I do, for sure, but, really, having Peter as a best friend and business partner, I don't really have to aspire to that. When I need it, when I need him, he's there. With his calm and clarity and all kinds of other parts and pieces that I don't have. That's why we are brothers.
Peter established the rules with the Forest Lawn people so there'd be a solid protocol, and no mix-ups with them. Peter made it so we didn't have to think, or interface with anyone outside our friends and family in our house. Peter made it so that our solitary focus was being with Pablo's physical body in the hours after his spirit left and moved on. We talked about this tonight with Peter and Brie—how they both guided us down this path that no one wants to venture down, that none of us had ever been on, that turned us all inside out and showed us what we were made of as we were witnessing the death of a precious + special little boy. I had to take that turn in the story. It just happened as I was typing, so I know it had to come out.
There's one other significant fact about the blanket: it has been in a white paper bag (think Macy's) from Forest Lawn since the day of Pablo's funeral. Also in the bag: the Batman Dark Knight pajamas the Nolan family gave Pablo in the giant Dark Knight gift basket they sent over last summer. Pablo died in those pajamas. This bag has sat on a chair in our bedroom since Pablo's funeral. We weren't avoiding it. We knew it was there. We knew we didn't have to rush into it.
Tonight, Grady walking outside and waiting for us to get out of the car: it was time for the three of us to remove the contents of the Macy's-like Forest Lawn bag. Together. We stood on Jo Ann's side of our bed. Jo Ann put the bag on the bed. I pulled the blanket out. Held it up to my nose. Took a deep inhale. I wanted to smell any Pablo smell that was left on it. I passed it to Grady, and he did the same. Then Jo Ann. She was holding Pablo's Dark Knight pajamas, doing the same. I grabbed the jammies next. We all wept. We all looked at the blanket, examining it carefully, looking for any sign of Pablo.
I held the short bottoms of the pajamas. I looked at Jo Ann. I said, 'We can never wash these.' She looked at me. She said, in a sorrowful and exasperated way, 'I know!'
I knew she knew, but I had to say it. All these firsts that pop up in our lives....
15 comments:
each time you write about a first, i learn something unexpected -- about love, about life, about sorrow, about family, about being. tonight was no exception.
thank you.
PABLOVE and LIGHT,
- July 16, 2009 at 11:59 PM
- Nancy said...
How beautiful and loving your family is. You have been blessed with this as well as wonderful friends. Your story brought tears and I pray for your comfort and peace. It is such a hard road you travel and I will continue to pray for you all. Thank you so much for always sharing your most intimate feelings with us. I will always be grateful to God that he let me spend the last week of my mother's life by her side.
- July 17, 2009 at 5:01 AM
- Stephanie said...
Guess Pablo thought it was a good time to unpack that bag. He is ever so close...isn't he.
How wonderful that you have such a friend in Peter, he sounds like a great guy.
I read you are going to France and will meet up with Lance...well, my husbands friends are also going to France and will meet up with Lance. Coincidence? If you bump into anyone from RI out there than this small world is getting even smaller.
- July 17, 2009 at 5:54 AM
you guys are amazing.
- July 17, 2009 at 9:00 AM
- Samantha said...
often in this blogging world i have come across families who have lost a child, i think i gravatate to them because as a parent of 3 little ones, it is my absolute worst fear. there is nothing i fear more than the thought of loosing one of my children... I never read these blogs with the thought that I am glad it isnt happening to me... i read them to know and acknowledge the pain that other parents are feeling. I hate that there are parents that are feeling this painful sorrow... Your writing really allows readers to literally feel the pain... it is touching... Thank you for sharing such personal thoughts and events... I appriciate it more than you could ever know...
- July 17, 2009 at 10:08 AM
Going to be gone now for a while. Blessings to you and your family. When we lost our son, we made a memory box with notes and precious items and tied it and wrapped it beautifully. One day, when it feels right, I want to take it somewhere special and set it loose in the ocean. I think we will know the when the time is right.
Continuing to pray for you and your family. A big hug especially to Grady he is an amazing young man. Good luck with your pitch.
- July 17, 2009 at 10:10 AM
I can't imagine having to do what you guys are doing but my heart is with you.
- July 17, 2009 at 10:24 AM
- TonyG said...
Keep writing about your thoughts, stories and experiences. Pablo lives on and on and on through your words and my thoughts of how special that little boy is.
- July 17, 2009 at 1:40 PM
We placed our little ones clothing that he died in, pillowcase and sheet in a ziplock baggie and have left it there for almost ten years. Yes we do open the bag and smell him one more time....
- July 17, 2009 at 2:14 PM
- Alberta Art Classes said...
My brother lost his son a few years ago, his pajamas are still in a box at the foot of their bed, unwashed. Blessings.
- July 17, 2009 at 6:00 PM
Dearest JoAnn, Jeff and Grady,
My heart is with you as I read your posts. So many parallels are breaking my heart as I can literally feel your pain.
I will continue to hold you close in prayer. Your Pablo is one amazing, imaginative playmate for our Thomas. I choose to believe that Pablo and Thomas are two well-known Lego champions together in heaven, experiencing the unique joy that we will witness and share someday when we're all united again.
You're a beautiful family.
God Bless You,
The Hearnes
- July 17, 2009 at 6:33 PM
I had to cry so hard reading this. That's really all I can say.
- July 18, 2009 at 2:50 AM
- Jules said...
As always, thank you for sharing.
Pablove xoxo
- July 18, 2009 at 6:46 AM
- Elizabeth said...
Beautiful story -- thank you for sharing it. And I will pass along all the Pablov information.
A good friend of mine is one of the main commentators/announcers for the Tour. His name is Paul Sherwen, married to Katherine Love who was a college roommate of mine. I know that we don't know each other, but if you happen to meet Paul (and I'm sure he'll be talking about you!) tell him I said hello --
Blessings to you.
- July 18, 2009 at 10:48 PM
- Jen said...
Tears again. Thank you for sharing. Sending you my love and hugs - Jen Rhodes
- July 19, 2009 at 9:42 AM


text:
The Special Edition for Marathon: Phoenix is now live and available for download!
Marathon: Phoenix is an action-oriented scenario with particular stylistic emphasis on strong level design and very fast-paced gameplay, with a good level of challenge on any difficulty level without resorting to cheap tricks. What was once originally an updated re-envisioning of The Gray Incident has become almost a brand new scenario with a new plot, new weapons, and all new levels. For those of you that prefer more relaxed games, this isn't the one for you. It features an entire arsenal of new weapons, 35 large levels, and a great soundtrack by CryoS and Kevin MacLeod.
1.3 incorporates stats uploading to lhowon.org, and also some bonus levels attached to the end of the scenario for a personal project that I'm discontinuing, as well as new music from that project.

subset: commoncrawl


text:
Etihad Aviation Group engages youth across the UAE in science and technology at Think Science Fair 2018
Etihad Aviation Group is taking part in the 2018 Think Science Fair, held this week in Dubai, as part of its commitment to encourage the youth across the UAE to engage with science and technology and pursue a career in the world of aviation and aircraft engineering.
The event, which runs from 16 to 18 April at Dubai World Trade Centre, is organised by the Emirates Foundation under the patronage of H.H. Sheikh Abdullah bin Zayed Al Nahyan, Minister of Foreign Affairs and International Cooperation and Chairman of the Emirates Foundation.
Emirati pilots, cadets and engineers from Etihad Aviation Group will be present at the event to promote the aviation industry and its various career opportunities.
Ibrahim Nassir, Senior Vice President Human Resources Etihad Airways and Deputy Group Chief People and Performance Officer at Etihad Aviation Group, said: "Developing the youth and engaging with them lies at the heart of our goal to attract UAE talents to work in aviation and drive innovation in science and technology."
"By showcasing a number of future technologies and innovations at this year's Think Science Fair, we hope this will inspire the youth attending the event to follow their dreams and join the ranks of the Emirati success stories at Etihad Aviation Group."
Amani Al Hashmi, Head of UAE National Development at Etihad Aviation Group, said: "As we celebrate science and technology, we also honour the legacy of the UAE's founding father, Sheikh Zayed bin Sultan Al Nahyan, who believed that 'education of our people is a great wealth. We are proud of our educated nation because through knowledge and science we will open the horizons of a glorious future.' This is something we are trying to achieve at Etihad."
Visitors to Etihad Aviation Group's stand will be able to experience first-hand some of the experimental technologies in aviation, which include bag measurement and cargo container loading using augmented reality, line maintenance planning and task assignment using a smart device and crew collaboration and communications through smart watches.
The stand also offers visiting students the chance to experience what it is like to pilot an aircraft on a flight simulator, and test the students' flying ability. Etihad engineers will be on hand to show visitors what could be the future tools for inspection of aircraft engine and spare parts using a smart phone.
A mock-up of a fuel draining system invented by Etihad Airways Engineering, which removes water condensate and residual fuel from aircraft fuel tanks in a short time, and 3D-printed cabin plastic parts are also on display at the stand.
Visitors will have the chance to try virtual reality entertainment technology, which Etihad Airways is currently trialling for a month at its flagship First Class Lounge and Spa and Business Class Premium Lounge at Abu Dhabi International Airport, to gather customer feedback to determine the airline's future lounge entertainment offering at the upcoming Abu Dhabi's state-of-the-art Midfield Terminal.
Sara Mohamed Al Naqbi, First Officer at Etihad Airways, said: "With events like Think Science, the UAE is actively paving the way for the youth to become the future leaders in science and technology. The aviation industry is heavily based on technological advancement and innovation, and we are confident many of the brilliant minds we meet today will contribute to this vital industry in the very near future."
The Think Science Fair is one of the biggest events of its kind in the region that attracts thousands of visitors every year, and encourages cooperation and interaction between young scientists and science and technology business sector. The event welcomed 52,000 young visitors over the past 5 years.
The 6th annual Think Science Fair is set to be the biggest yet, with 3 days of action packed activities that bring together thousands of youth from across the UAE to promote science, technology and innovation through interactive hands-on experiments, educational workshops and stage shows.
Photo caption: His Excellency Omar bin Sultan Al Olama, Minister of State for Artificial Intelligence, and Captain Naeem Alameri, Head of Cadet Programme at Etihad Airways, listen to Eng. Shereen Al Mazroui, from Etihad Airways Engineering, as she explains how smart devices can be used in line maintenance planning and task assignment, at the 2018 Think Science Fair.


text:
February 3rd 2005 (2pm UK time) Hes back in to bat! Brian Lara, one of crickets greatest ever players and one of video gamings biggest sports icons, returns to game screens this summer in Brian Lara International Cricket for PlayStation 2, Xbox and PC.
Bringing its heritage of being the definitive cricket game series, Brian Lara International Cricket comes ten years after Codemasters launched the original Brian Lara game and over five years since the series appeared on any platform.
As the ultimate hit and run experience, Brian Lara International Cricket will capture all the exciting, athletic, skilful and technical elements of the sport.
In a tense battle between batting and bowling, its your chance to defend the honour of your chosen country in gripping One-Day Internationals, atmospheric Test Matches, fast Double Wicket games, challenging tournaments and even historic clashes including the Test Match of 1882, which led to the creation of the Ashes!
In addition to the worlds best cricket players and stadia from around the world, Brian Lara International Cricket also includes a classic squad featuring some of the greatest names from cricket history.
If you want to get your skills up to international standards, there are Practice Nets to get in shape and then, when youre ready to play alongside the worlds best, the full team and player editing lets you pick the squad.
Get out on the pitch and experience the fluid, dynamic gameplay mechanics that make batting, bowling and fielding equally enthralling to play.
Youll be bowling bouncers and hitting sixes in no time if you can take the deliveries from the professionals.
If youre feeling really competitive, theres multiplayer action for up to four players, with 2 players per team. Players can join the team at any time during a match, providing perfect drop in or drop out play perfect if youre engaged in a 5-day Test!
Visually reflecting the contemporary style of televised cricket, the game will also offer intelligent commentary from some of the biggest and recognisable names in cricket, including Jonathan Agnew, David Gower and Ian Bishop.
Essential for fans of the sport, and a cracking multiplayer game in its own right, Brian Lara International Cricket will bowl you over this summer when its published by Codemasters for PlayStation 2, Xbox and PC. Prepare to don your cricket whites online at www.codemasters.com/brianlara


text:
The Filibuster
Did Ken Kendrick cross the line on his Stephen Drew comments?
Wheaton, IL
There are a lot of really terrible owners out there. Of course the one that has most directly affected baseball fans in the recent past is Frank McCourt and his incredible mismanagement of the Dodgers' franchise. The fact that the man was able to exit with cash in his pocket just illustrates how wrong that situation was. But he's not the only one. The Pirates have also been victims of poor ownership while the NBA's Clippers were known almost as much for their tight-fisted owner as they were for their years of ineptitude and sub-.500 records.
Ken Kendrick, though, he cares about his team. See, Kendrick isn't just an owner, he's also the managing partner, responsible for the day-to-day decisions that make a baseball team profitable in the global sense of the term. And let's face it, there's a lot that goes in to making a baseball team profitable. As an owner, you have to manage your assets and liabilities in such a way that you keep more cash flowing in than is flowing out, not always an easy prospect in these days of overinflated salaries.
The best way to ensure that your team remains profitable is to win. Fans like to come see winning teams and winning teams can also charge more for tickets and merchandise. There's a reason why the cost of Yankees' tickets goes up year after year while teams like the Pirates and Royals stay relatively constant. There's also a reason why the Yankees, despite their enormous payroll, are still one of the most profitable teams in the game. It helps when you can broadcast most of your games on your own television station but when you're also selling out the stadium for every game, that makes a big difference.
Which brings me back to Kendrick. Arizona is not a huge baseball market like the coasts or Chicago. However, Arizona has had a good baseball team and a baseball team that brings people to the stadium. Hiring pitchers like Randy Johnson and Curt Schilling helped but as those days are gone, the D-Backs have to rely on new young talent to put butts in the seats. Talent like Stephen Drew. So, when Stephen Drew doesn't play, the D-Backs don't do as well and they also don't put as many butts in the seats. This in turn makes the franchise less profitable, a fact of which the managing partner is very aware.
Drew's 2012 salary is $7.75 million. He's the highest paid player on the team and accounts for over 10% of the Diamondback's payroll. He also hasn't played a game for the Diamondbacks in nearly a year. As an owner, and especially as the managing partner, I imagine that would not sit so well. Sure, Drew had a pretty bad injury but he has the best doctors in the game working on him and if his boss says that he's way over schedule for his return, well, I'm inclined to agree with him.
So, did Kendrick cross a line in his comments on Drew? In my opinion, no. He's a frustrated manager who doesn't believe his employee is acting in good faith and those actions are affecting the businesses profitability. Sounds like he has every right to be honked off.
Have a topic you want to see us Filibuster? Send us your Filibuster questions by emailing email@example.com or by commenting below.


text:
According to our gaming editor Kyle Orland, video games are at a real transition point. Nintendo just released the Wii U, its next-generation console, and many of us are speculating about what's to come from other major companies like Sony and Microsoft. What's more, open-source projects like the Ouya and the Oculus Rift could really impact the way people play games. And then there's mobile gaming, which is changing the gaming landscape in its own right.
So what can gamers expect in 2013? In this episode of the Ars Technicast, we talk about where we think the industry is headed and which new players might have real impact. Senior Apple Editor Jacqui Cheng, Social Editor Cesar Torres, and Senior Reviews Editor Lee Hutchinson join Kyle in a discussion about hardware, software, and indie development issues.
If you like what you hear on the Ars Technicast, please leave us a comment below or give us a rating in the iTunes store. Of course, you don't have to use iTunes to subscribe. You can listen to the show right here on the page using the player below, and you can find us in Stitcher and Soundcloud. You can also pick us up in your RSS reader.
What are you looking forward to in 2013 when it comes to console gaming? How do you think mobile and indie gaming will impact the gaming ecosystem?
- Direct Download URL: Ars Technicast, Episode 19: Video games of the FUTURE Future future...
- Listen or subscribe on Stitchr
- Subscribe via the iTunes store
- Subscribe via RSS
- Listen on SoundCloud


text: San Jose's Unique and Interactive DiningLocated less than a mile south of Campbell's Pruneyard on Bascom Avenue, Grill 'Em Steakhouse is fast becoming a local favorite amongst San Jose Steakhouses. Customers are able to grill their own steaks on a six foot by two-and-a-half foot communal grill. Great for birthdays, first dates, or any kind of special celebration. Break the norm and come to Grill 'Em and experience the best Campbell Steakhouse. You do the grilling and we do the cleaning!


text:
YouTube Videos
YouTube probably has the biggest selection of online video in the world. The site offers everything from user-generated videos to popular movies to episodes of TV shows to SuperBowl commercials. While YouTube is one of the biggest video sites in the world, finding the video you want to watch isn't always easy. It's so easy to spend time endless hours on YouTube clicking from video to video. It's not surprising to start with a search for funny cat videos and an hour later you find yourself still glued to computer screen and watching videos of something entirely different.
We know YouTube is loaded with great content and we wanted to make it easier for you to find all those fabulous videos. That's why we've rounded up YouTube videos on just about every topic. Whether you want to find space videos, watch artists as they create masterpieces using everything from light to sand, learn how to cook low-carb party favors, or just watch funny YouTube videos these posts can get you started. We've rounded up some of the best YouTube videos by topic and included them in these posts.


text:
John's Apocalypse: dynamic word-images for a new
Sergio Rosell
Department New Testament, Seminario Evanglico Unido de Teologa, Spain. Faculty of Theology, University of Pretoria, South Africa
The aim of the article is to investigate the function of the symbols and images in the Apocalypse of John. Its aim is to focus on the mental scenarios readers are bringing to the text, rather than on Johns supposed lack of ability to convey his message. The article discusses both the symbolic or iconographic and the evocative power within the historical situation which the author of the Apocalypse addresses. The articles intention is to show how John reveals an alternative way of understanding history through the use of his particular imagery, aided by film theory tools and based on previous work that had perceived the Apocalypses theatrical nature, in order to discover Johns use of images, their function and the new world he aims to portray.
Our visions, stories and utopias are not only aesthetic, they engage us.
(Amos Wilder)
Revelation and the problem of its interpretation
A brief glance at the history of the interpretation of the Apocalypse reveals a complex book, sealed for some, incomprehensible to others. No wonder part of the church struggled to accept it in the canon for some time. Dionysius, bishop of Alexandria, spoke of those who had abandoned its reading whilst admitting his own struggle:]]>
But I could not venture to reject the book, as many brethren hold it in high esteem. But I suppose that it is beyond my comprehension, and that there is a certain concealed and more wonderful meaning in every part. For if I do not understand I suspect that a deeper sense lies beneath the words. I do not measure and judge them by my own reason, but leaving the more to faith I regard them as too high for me to grasp. And I do not reject what I cannot comprehend, but rather wonder because I do not understand it.
(Eusebius, Ecclesiastical History 7.25.4)
Some Reformation leaders likewise found it difficult: Luther complained he could not find Christ amid its pages, while Calvin wrote commentaries to all books of the New Testament except Revelation. Contemporary readers appear no different. Some conclude that it is a rather scary book or the curious record of the visions of a drug addict (Shaw 1933:73).1
Much of the problem lies in understanding the function of its symbols and images, and the mental scenarios we bring to the text, rather than in Johns supposed lack of ability to convey his message.2 I suggest that we pay attention both to the symbolic or iconographic and to its evocative power within the historical situation that John addresses; for however visionary Revelation is, it does not operate in a symbolic universe apart from the world of actual, social relations (Thompson 1990:95).
Aided by film theory tools and based on previous work that had perceived Revelations theatrical nature (Brewer 1952:228), my purpose is to show how John reveals an alternative way of understanding history through the use of his particular imagery.3 This way, although only briefly stated, we will be in a better position to discover Johns use of his images, their function and the new world he aims to portray.
Revelation: More than words
John transmits his message via images. It is a book of visions and auditions.4 When the word is predominant, texts show little freedom and tend to be less open to different possibilities of interpretation, but when the image predominates, texts are evocative although still framed by the propositions within the text (Humphrey 2007:28).
Revelation is a dynamic iconography where images reveal their intrinsic logic and movement. An example will be useful. Revelation is contemporary with 4 Ezra, a Jewish apocalypse where war and apocalyptic militarism are squarely rejected. Perhaps the reason for it is the failed Jewish revolt (cf. Bauckham 1993:232). But if we compare 4 Ezra with Revelation an apocalypse of clear Christian character it is shocking to observe that Revelation does not renounce militaristic images and scenes of crude violence (as in Rv 19:1121). In light of this, some have concluded that violence is necessary when the goal is the extermination of Evil. However, Bauckham (1993:233) observes that the distinctive feature of Revelation seems to be, not its repudiation of apocalyptic militarism, but its lavish use of militaristic language in a non-militaristic sense (original emphasis). We need to be aware of the function of this imagery and not mistake description for content. Although Revelation uses violent images, in essence its message reinterprets this setting because victory is won by absorbing violence and evil:
Johns apocalyptic imagery achieves a symbolic transformation of the world, i.e. it changes his readers perception of the situation in which they live and so enables them to behave differently in response to it. The imagery of holy war provides a most effective vehicle for this purpose because it highlights the issue: when the beast puts the martyrs to death, who is the real victor? The answer, in Revelation, depends on whether one sees the matter from an earthly or a heavenly perspective. (Bauckham 1993:235)]]> And this, if I may insist, is accomplished mostly through its particular use of imagery.
Choosing a concrete perspective
Revelation is a message of judgement of present history, empathising with those who suffer. John, the recipient of the visions, is their brother and partner in affliction (Rv 1:9). It is not a lukewarm text; it takes sides with the powerless against the establishment. Its rhetoric aims at provoking the rejection of the false image of beneficence and justice that the Roman Empire presents, when the truth behind it all is corruption and evil-doing. Revelations purpose is to dis-close the immediate, what is perceived by the senses. John acts therefore as a social critic, and his message reveals things that are soon to occur.
Revelation is the opposite of what we call ideology, which tries to cover up reality and aims to legitimise domination (Lpez Rosas & Richard 2006:298). Therefore Johns visions are to be interpreted, contemplated and transformed into action. There is no hope unless the message is digested and the experience made concrete here and now. John writes with passion because the communities he addresses are easily accommodating to this ideology, the present evil system (cf. Thompson 1990:125). Who will reveal the truth?
Film theory
Biblical exegesis should make use of any discipline that can add new insights. I approach Revelations dynamic iconography using the analogy of film theory, which works with four basic elements, (1) the selection of parts of the grand narrative (diegesis), that is, the story, (2) camera movements (including angles, sequence, distance, framing, perspective, and so on), (3) montage and (4) sound track. Revelation shares in these elements, John centres on (1) events that will soon occur, (2) he narrates the events from a particular point of view, sometimes focusing on the earthly, then on the heavenly, (3) John has arranged events in sequences of seven, in order to advance the story and (4) the visual is immersed in the aural: the letter is to be read in public, and the aural expands on the sense the images carry.
John wants to communicate a revelation concerning Jesus Christ that he has received from God through a messenger. It is like a good book transformed into a film, where the director sits behind the camera and tells the story from a particular point of view (Rv 1:9). Nevertheless, the director too will eventually be in front of the camera, for he or she are part of the story. We are not dealing with objective history as if that were possible. John acts as the prophets of old, eating the message, sweet at first sour later on as sign of participation in the drama of history that enfolds before us (Rv 10:810).
The context: Vision of the celestial court
John starts from a vantage point: the celestial court (Rv 1:46), where the ruler of kings on earth reigns (Rv 1:5). Despite the desperate situation the audience experiences, the message is clear: God is in control. John himself is exiled on a faraway island, powerless, but aware that he is under a government (βασιλεία) which transcends the political power of the day.5 That way he can affirm: Τῷ ἀγαπῶντι ἡμᾶς καὶ λύσαντι ἡμᾶς ἐκ τῶν ἁμαρτιῶν ἐν τῷ αἵματι αὐτου, καὶ ἐποίησεν ἡμᾶς βασιλείαν, ἱερεῖς τῷ θεῷ καὶ πατρὶ αὐτοῦ (Rv 1:56b).]]> Revelation provides encouragement and hope to Christ-following communities that struggle to be faithful in the midst of a system that threatens to swallow them.6 Revelation is prophecy that happens in the midst of the worship of the community of faith (Rv 1:18; 22:621), and it is subversive because another Kyrios, instead of Caesar, is adored. That is why the seer begins his visions ἐν τῇ κυριακῇ Ἰησοῦ (Rv 1:10), a clear sign that another Kyrios reigns.7
The directors angle
John wants to tell his story, but the diegesis (the grand narrative) is always bigger than that which he can capture with his lense. History belongs only to God, not to the political powers, the dragon, Satan or even the church. This adds further value to the term reve(a)l-ation: it describes the action by which we seek to dis-cover Gods action in human history through Jesus Christ. His perspective is complex, as he juxtaposes planes and images to provide a more complete view of reality. John seeks to capture both what is perceived by the senses, as well as that which escapes the sensory the spiritual at once. History is not only what is seen, heard, felt or touched. What is most important is what cannot be seen (Richard 2000:16).
The medium: Vision-report
The audience is assured of the (eschatological and present) blessing from God to those who read, hear and keep what is written therein. The medium is none other than the public reading of the prophecy (Rv 1:3), where through the images, the audience is encouraged to keep the faith in the face of powerful imperial ideology.8
E.M. Humphrey (2007:15) affirms that Revelation is structured through vision-reports, a rare biblical Gattung which emerges at crucial moments.9 A vision-report is:
the revelation both of something that has been seen and heard in a first instance, and as something that can be transmitted as more than a recorded and remembered teaching (...). The revelation thus involves both the sight of the glory of God in Jesus and the words that interpret what has been seen. This is in harmony with the broader Hebrew and Christian tradition, where God is depicted as communicating by both vision and audition; frequently the two are conjoined so that revealing a mystery is placed in the context of interpretive word or interpreted word is made vivid or enhanced by vision.
(Humphrey 2007:1718)
And where we find vision-reports, we inevitably find argumentation, either explicit or implicit (Humphrey 2007:18), because both word and image work in synergy in order to transform the audience.10]]>
Unceasing suffering: The souls under the altar
From the outset, Revelation announces a higher government and a present victory, but suffering continues for the faithful. In Revelations timeframe this seems to happen at once. How can the audience make sense of it? Maybe we can explain it by means of juxtaposed images. Soviet filmmaker Lev Kuleshov (1920s) applied shot and cut experiments, constructing spatial relations by eliminating establishing shots. The most famous of these involved the cutting of neutral shots of an actors face with other shots (variously reported as shots of soup, nature scenes, a dead woman, a baby). The reported results was that the audience immediately assumed not only that the actors expression changed but also that the actor was reacting to things present in the same space as himself (Bordwell & Thompson 1997:281). Brewer (1952:228) explains it in reference to the characteristic features of Graeco-Roman theatre where different parts of the drama were played at once: the main stage (or orchestra) where the story took place, and above it, a platform (the theologium) where the gods appeared if necessary. Let us take a closer look at the subject.
The lion, the scroll and the lamb
After the seven letters, John hears a voice like a trumpet sound, which signals a change in scenario (Rv 4:1). He looks toward the heavenly throne and sees one seated on it, with a sealed scroll in his right hand, symbolising that historys meaning is not immediately accessible for humanity (Rv 4:2). John looks around but nobody is able to open its seals and he cries (Rv 5:4), for he represents the faithful community who struggles to understand the reason for this suffering and oppression (Lpez Rosas & Richard 2006:325).
Then one of the elders announces one who is worthy to open the scroll and the seven seals: the Lion of Judah, the Root of David (Rv 5:5). This announcement represents a climax in the story, an end to their suffering. But when John takes a closer look he sees only a lamb (ἀρνίον) as though slain (Rv 5:6; cf. 1:18). This is a clear example of a superposition of images: if the lion symbolises conquest, the lamb refers to sacrificial death. Together, though, they convey the idea of conquest of the cosmos through sacrifice, the creation of a new symbol (Bauckham 1998:184). John refuses to homogenise these two images and leaves us with an unresolved and startling juxtaposition:
The result is a complete redefinition of omnipotence. Strength and authority belong not to the one who has practiced violence but rather to the one upon whom violence has been inflicted.
(Friesen 2001:200)
The lamb then receives universal proskynesis (Rv 5:1314), for he represents victory won by suffering, which will reappear in Revelation 19:1116, when the knight dressed in white conquers, his robes crimson-stained from his own blood, prior to battle.]]> But what is the reason for this paradox, this clashing of images? What is John trying to effect on the audience? Perhaps we need to retain in our minds both the art of filmmaking as well as the theatrical staging Brewer alluded to earlier. A common feature of Graeco-Roman dramas was a sort of authors cop-out, where an outside force decided a seemingly unsolvable problem in an extremely unlikely (and most anticlimactic) way. This recourse was known as deus ex machina (literary god out of the machine) and provided a way out of the impasse the situation had reached as the figure of a particular god intervened in the play, lowered by a crane. However, John plays a very different game here. This lion or lamb figure had never left the scene, for Revelation makes clear that he walks amidst the churches (Rv 1:13). Could it be that John is playing against this accepted deus ex machina recourse, where the gods only intervened as it fit them so as to satisfy their own wishes? Rather than acting from above and outside to solve humanitys drama, this Jesus lion and lamb is he who was and who is and who is to come (Rv 1:8; 4:8; 21:6; 22.13). He has never abandoned history, but humanitys focus has been too limited all along. Immersed in our own struggle to survive, we lost sight of his presence and consequently surrendered to ideology.
History unfolds: The seals
Only one is worthy to open the seals.11 His revelation is both judgement and call to repentance. Those who submit to this present and perverted version of history suffer the voracity of the Empire and the elites, but equally, those who resist it suffer as witnesses or martyrs. The one worthy is the faithful and true witness (ὁ μάρτυς ὁ πιστὸς καὶ ἀληθινός; Rv 1:5; 3:14; 6:10; 19:11). Truth and falsehood are part of the seers reality, but only the true witness is willing to conquer through unveiling the truth by his sacrifice. Johns images communicate an alternative reading scenario: the true one.
The reader or hearer is invited to participate (ἔρχου καὶ εἶδον, Rv 6:1, 3, 5, 7) in this un-veiling. The first four seals represent the true story about the violence and decay of the Roman Empire. The present system is powerful, but its authority is delegated (ἐδόθη; cf. Rv 6:2, 4, 8), which implies a terminus ad quem.
This brings us to the crux of the passage, which is also the crux of the interpretation of the whole book. At a first reading the account of the breaking of the seals leaves us with a sense of anticlimax. The choirs of heaven have sung their new song to acclaim a new act of God and to prepare us for the new revelation we can expect when the seals of the scroll are broken. Then on to the stage of history come only four horsemen representing disasters as old as the human race. Is this all that we are to receive from the regnant Christ? Has he after all nothing new to disclose, nothing new to achieve?
(Caird 1984:82)
But John has already answered this. The lamb represents power in the midst of suffering, the paradox of the seemingly weak that conquers all. Part of that victory is to expose history, occulted as it is by layers of ideology and false appearances.
The fifth seal: The absence of God?
Those dead because of the testimony call on God for justice. It is not revenge (κρίνεις καὶ ἐκδικεῖς; Rv 6:10) they ask, but to be heard here and now. They embody the faithful witness (διὰ τὴν μαρτυρίαν ἥν εἶχον; Rv 6:9) and demand answers, because the utopia of Revelation is the kingdom of God, which is not construed at the end of history, but beyond oppression and death, in the midst of our story (Lpez Rosas & Richard 2006:298). And these who cry are not dead, for John sees the souls (ψυχάς) under the altar (Rv 6:9).12 The altar (θυσιαστήριον) could be the altar of sacrifice and/or incense, but the reference is nevertheless to the prayers of the saints that will soon be answered, when their number is completed (Rv 8:35). Gods answer is not yet fully accomplished, but it will be sung once more in the worship of the community (Rv 19:2). But, are the martyrs reclaiming Christs parousia? According to Revelation Jesus has never abandoned history. As Lpez Rosas and Richard (2006:305) affirm: Revelation is not centred on the second coming of Christ, but on his glorious manifestation now in the historic present of the community. Therefore, what the suffering community demands is that he manifest himself. The scene, though, reflects much tension. How can there be consolation when vindication is not nigh? The answer is that God is true to his particular way of acting. The only way to strip the powers is through ultimate self-giving. The martyrs do not conquer due to their faithfulness but on account of their participation in Christs victory. These have not died in vain; they are truly alive, because they belong to a different realm, and are promised the obliteration of pain and suffering because the Lamb is also the good shepherd (Rv 7:1517). Bauckham (1993) refers to the delay of their vindication:]]>
The tradition John has used in 6:911 did not explain why this should be, other than to appeal to the predetermined plan of God. But in the rest of his work John goes on to share the prophetic revelation which has been given to him as to the meaning of his delay. It is not just that there is an arbitrary decreed quota of martyrs to be completed. It is so that the witness of the martyrs may play a key role in Gods purpose of establishing his universal kingdom.
(Bauckham 1993:56)
The text displays a profound lesson via images: Gods apparent delay is not the absence of power, but the way God acts in history. We must not therefore mistake patience for weakness. This is the paradox of Gods power, which promises the restoration of the entire universe in due course. It is similar to the gospel story where a measure of leaven ends up transforming the whole lump. The martyrs are the first ones to experience the power of leaven, although they have to wait yet a little longer before the transformation is complete (Rv 21:45). In the interim, so that the community of the faithful may be encouraged, they are given a glimpse of what happens offstage. The power of the public reading of Revelation is this: that what takes place offstage is now placed in the spotlight.
The sixth seal is confirmation of Gods power: judgement and revelation for the nations at one and the same time (6:1217).13 John chooses now to focus on a new scene: the battle on earth still rages and the vision takes us now to the worship of the community in front of the throne. There are 144 000 that worship God and the Lamb, accompanied by a multitude which cannot be numbered. It is a calming scene: even the winds remain motionless (Rv 7:1). The contest is not a battle amongst equals (viz. God Satan), for God is in perfect control of affairs. The great and urgent question can still be heard: is God near? The seventh seal begins with silence for about half an hour (Rv 8:1). It is Gods silence, a profound experience the community undergoes. God has heard the cries of his faithful.
It is fair to conclude that Revelation is the gospel in nuce. Though Luther could not find Christ amidst its pages, we can assuredly affirm that Revelation breathes Christ through its imagery. The victory of the Lamb completely transforms history, although at present it may be seen in the hands of the Empire.14
Physicist Archimedes of Syracuse (3rd century BC) had affirmed: give me a fulcrum and I shall move the world (Δοσ Μοι Που Στω Και Κινω Την Γην). Likewise, the life, death and resurrection of Jesus become the fulcrum not the lever by which the cosmos receives a new opportunity.15 If in the first part of the book evil seems all-pervasive, in the last chapters there is no sign of its existence. The resurrection of Christ marks the end of the world and inaugurates the new world as God wanted (Prvost 1994:100), a replay of the gospel story (Contreras Molina 1991:346). From this point of view John communicates that history is ultimately written by those who conquer, by what appears weak.16 Spanish writer V. Blasco Ibez wrote in his acclaimed The four horsemen of the Apocalypse (1916), during World War I, that the beast never dies, it only hides waiting for the opportune moment (Garca Landa 2004:1), but Revelation announces the complete obliteration of evil: it will never more appear in the scene.
The beginning of the book (Rv 1:1) speaks the revelation of Jesus the Messiah. The story wants to encourage those who are about to give up; but encouragement will not be enough unless Jesus strips the powers of their lies. The faithful are not to be deceived by their ideology; they need to come out of them (Rv 18:4). There is no chance of sharing in Gods victory (Rv 3:21) unless one renounces ones own life.]]> John concludes with a strong warning against adding to the words of the prophecy (Rv 22:1819), because John has communicated what he really wanted to express. His aim is the transformation of the communitys way of thinking in the midst of history, and he bases his appeal on imagerys evocative power. We are no longer spectators but participants in the story. After all, it is a book that displays a peculiar abhorrence for ambiguity, little patient with the lukewarm (Rv 3:15). The blessing is not in discerning every detail of the events, but in keeping its message.
This article was written in honour of Andries G. Van Aarde. I had the privilege of meeting Professor Andries G. van Aarde by sheer chance if such a thing really exists in 2004. Our family had moved to South Africa, and my wife, a Pretorian-turned-missionary to the Spaniards, encouraged me to visit the University of Pretoria and enrol in some courses during our year-long stay. There I had an interview with Professor Van Aarde. His contagious and warm spirit quickly convinced me to enrol in the PhD programme at the University of Pretoria and to pursue excellence in all I wanted to accomplish. Professor Van Aarde impressed me with his deep desire to actualise the Scriptures in todays world. It is with gratitude that I dedicate this article, which represents a creative search for reading scriptures both with passion and through new perspectives, to Professor Van Aarde.
Barr, D.R., 2009, Johns ironic empire, Interpretation 63(1), 2030. [ Links ]
Bauckham, R., 1993, The theology of the Book of Revelation, Cambridge University Press, Cambridge, UK. [ Links ]
Bauckham, R., 1998, The climax of prophecy, T & T Clark, London/New York. [ Links ]
Bordwell, D. & Thompson, K., 1997, Film art. An introduction, 5th edn., McGraw-Hill, New York. [ Links ]
Brewer, R.R., 1952, Revelation 4:6 and translations thereof, Journal of Biblical Literature 71(4), 227231. doi:10.2307/3261614 [ Links ]
Caird, G.B., 1984, The revelation of St John the apostle, 2nd edn., A & C Black, London. [ Links ]
Callahan, A.D., 1995, The language of apocalypse, The Harvard Theological Review 88(4), 453-470. [ Links ]
Contreras Molina, F., 1991, El seor de la vida. Lectura cristolgica del Apocalipsis (The Lord of life. Christological reading of the Apocalypse), Sgueme, Salamanca. [ Links ]
Ellul, J., 1977, Apocalypse: The Book of Revelation, Seabury, New York. [ Links ]
Friesen, S.J., 2001, Imperial cults and the apocalypse of John. Reading Revelation in the ruins, Oxford University Press, Oxford. doi:10.1093/0195131533.001.0001 [ Links ]
Frilingos, C.H., 2004, Spectacles of empire. Monsters, martyrs, and the Book of Revelation, University of Pennsylvania Press, Philadelphia. [ Links ]
Garca Landa, J.., 1985, Los Cuatro Jinetes del Apocalipsis de Vicente Blasco Ibez (The Four Horseman of the Apocalypse by Vicente Blasco Ibez), 14, viewed 10 November 2009, from www.unizar.es/departamentos/filologa_inglesa. [ Links ]
Hanson, J.S., 1980, Dreams and visions in the Greco-Roman world and early Christianity, Aufstieg und Niedergang der rmischen Welt 2.23.2, 13951427. [ Links ]
Holtzmann, H.J., (18961897) 1991, Lehrbuch der Neutestamentlichen Theologie (Text book of the New Testament Theology), 2nd rev. edn., 2 vols, Mohr Siebeck, Tbingen. [ Links ]
Humphrey, E.M., 2007, And I turned to see the voice. The rhetoric of vision in the New Testament, Baker Academic, Grand Rapids. [ Links ]
Koester, C.R., 2009, Revelations visionary challenge to ordinary empire, Interpretation 63(1), 518. [ Links ]
Lpez Rosas, R. & Richard, P., 2006, Evangelio de Juan y Apocalipsis de san Juan (Gospel of John and Revelation of St. John), Verbo Divino, Estella. [ Links ]
Pikaza, X., 1999, Apocalipsis (Apocalypse), Verbo Divino, Estella. [ Links ]
Prvost, J.-P., 1994, Para leer el Apocalipsis (To read the Apocalypse), Verbo Divino, Estella. [ Links ]
Richard, P., 2000, Apocalipsis: Reconstruccin de la esperanza (Apocalypse: Reconstruction of hope), Resea Bblica 27, 1320. [ Links ]
Shaw, G.B., 1933, The adventures of the black girl in her search for God, Dodd & Mead, New York. [ Links ]
Skaggs, R. & Doyle, T., 2009, Lion/Lamb in Revelation, Currents in Biblical Research 7(3), 362-375. doi:10.1177/1476993X09104458 [ Links ]
Thompson, L.L., 1990, The Book of Revelation. Apocalypse and empire, Oxford University Press, New York/Oxford. [ Links ]
Correspondence to:
Sergio Rosell
Postal address: Seminario Evanglico Unido de Teologa,
Apdo. de Correos 7, 28280 El Escorial, Spain
Email: firstname.lastname@example.com
Received: 20 Apr. 2010
Accepted: 22 June 2010
Published: 07 June 2011
© 2011. The Authors. Licensee: OpenJournals Publishing. This work is licensed under the Creative Commons Attribution License.
Note: Dr Sergio Rosell is participating as a research associate of Prof. Dr Andries G. van Aarde, Honorary Professor at the Faculty of Theology of the University of Pretoria, South Africa.
1. Holtzmann (1991:539540) thought Revelation was a typical apocalyptic text where unadulterated Judaism and fully developed Christianity lie without any connection side by side.
2. Ellul (1977:189) exhorts readers to develop a detailed literary analysis without mistaking symbolic language for a secret code. In interpreting the symbolic there are two main approaches, the steno interpretation (one-to-one relation, that is, a single reality lies behind a symbol), or the tensive interpretation, open to a plurality of correspondences (cf. Humphrey 2007:23). The symbol is polysemic, hence its strength (Richard 2000:18).
3. Frilingos (2004:17) reads Revelation within the framework of its cultural milieu, attending to themes related to Greek romance, the Roman arena with general spectacles of gladiators and monsters. It is as if Revelation portrayed a dramatic representation of clashes and battles for an audience avid for the morbid.
4. Revelation contains 150+ allusions to seeing, hearing and saying; some of them combined: I looked and saw; I heard and saw. Skaggs and Doyle (2009:370) read Revelation in light of the seeing/hearing scheme: This contrast is indeed clear to the reader; John hears some things, and sees others. Whereas the seeing describes the outward appearance, the hearing uncovers the inner reality, the spirit, the essence of what is seen (original emphasis).
5. In Revelation 1:9 John describes himself as not only sharing in the common affliction (συγκοινωνὸς ἐν τῇ θλίψει), but καὶ βασιλεία, and in the perseverance/resistance in Jesus.
6. The problems that plague the churches extend beyond a supposed state-organised persecution against Christ-followers, and include local persecution (Rv 2:13), synagogue relations (Rv 2:9), trust in wealth (3:17) and the dangers of accommodating to dominant culture (Koester 2009:79).
7. Those outside the church worship the Beast of Roman imperial authority. For Beast worshippers, time is structured around the birth of Augustus and secondarily around the other emperors (...). The system meshed well with the rhythms of life in the cities of Asia, but it fit Johns calendar poorly (Friesen 2001:158). ]]> 8. Those first ancient auditors of the Apocalypse came together not merely to be informed, but to be transformed, to undergo a collective change in consciousness, an aspiration that makes modern individual and group reading practices trivial by comparison, with the possible exception of the reading of wills. Reading the Apocalypse aloud and hearing the Apocalypse read aloud, was effectual: through exhortations and exclamations, threats and thunder, the reading of the Apocalypse moved its hearers, effected them; the text did something to them (Callahan 1995:460).
9. Hanson (1980:13951427) speaks of dream-vision reports.
10. This is clear in the subtle play of words John carries in Revelation 1:112: καὶ ἐπέστρεψα βλέπειν τὴν φωνὴν ἥτις ἐλάλει μετ᾿ ἐμοῦ; and I turned to see the voice.
11. Three reasons make him worthy (Rv 5:910), (1) he was slain, (2) by his blood he ransomed humanity and (3) he has made them a kingdom.
12. Souls does not refer to an incorporeal life-state or to life after death, but as the totality of life (Pikaza 1999:98).
13. The inclusive description of Revelation 6:15 (kings, great men, generals, rich and strong, slave and free) may be the content of what the martyrs call those who dwell upon the earth, for whom present evil structures are what they call home.
14. Once the center is understood, the Lamb is the definition of reality, slain from the foundation of the World and living forever. The Beast is a blasphemous imitation bound for destruction (Friesen (2001:164).
15. The throne of God and of the lamb descends to humanity with the new Jerusalem. (...) The transcendent cohabits with the contingent, resulting in the unimaginable: walls with gates that are never closed, day without night, land without sea, habitation without temples, splendour without poverty, kings who offer their glory to the Creator, and nations that walk in the light of Gods glory (Friesen 2001:164).
16. Irony is natural to an apocalypse, for the basic intent of the genre is to remove the veil of ordinary perception, to see what is happening behind the scenes. This hidden action is often the opposite of ordinary perception. In Johns cultural world, Rome rules; in Johns story world, Jesus rules. Everyone sees this irony. But John destabilizes this world with a double irony, for Jesus rules only through his suffering (Barr 2009:2829).


text:
Login Required
You need to have a Pokémon Trainer Club account to save your Favorite Pokémon!Log In Sign Up No Thanks
Over the winter, it closes its bud and endures the cold. In spring, the bud opens and releases pollen.
When it feels the sun's warm touch, it opens its bud to release pollen. It lives alongside clear pools.
Contact with the Pokémon may poison the attacker.
All status conditions heal when the Pokémon switches out.
The Pokémon Company International is not responsible for the content of any linked website that is not operated by The Pokémon Company International. Please note that these websites' privacy policies and security practices may differ from The Pokémon Company International's standards.
Pokemon.com administrators have been notified and will review the screen name for compliance with the Terms of Use.
Your request could not be completed. Please try again. If the problem persists, please contact Customer Support.


text:
Layered Look
Grilled, wrapped, or piled high, seafood sandwiches prove it's what's inside that counts.
Sandwich lovers, rejoice―bread is back. How best to celebrate its rapid rise from the low-carb ashes? Match it with seafood to make a satisfying dinner for one or impressive party fare for many.
The beauty of sandwiches lies in their boundless possibilities, so when it comes to seafood, anything goes. Texture is paramount, though. In our Grilled Smoked Salmon Panini, we combine salty fish fillets and sweet, crunchy onions with a zesty sauce between slices of warm, crusty bread. Cut them into small portions and serve as irresistible appetizers, or relish one whole as a light spring dinner.
For a protein boost that packs an unexpected flavor punch, pair mild seafood with fresh, piquant ingredients. Try Spiced Fish Wraps with Chile-Lime Slaw, which sound fancy but roll up easily for a laid-back beach picnic. Or serve open-faced Halibut Sandwiches with Grilled Puttanesca Salsa, a knife-and-fork entrée that will surprise and delight a couple or a crowd.
However you slice it, seafood sandwiches add range and flavor to your repertoire. From po'boys to panini, they're coastal classics.


text:
I once saw a documentary that discussed a discovered possible "round table" but wondered how "pie in the sky" this possibility was as well as just how much/how little evidence is there for any possibility of truth in the legend.
My daughter is just beginning a study of the middle ages and we will be studying some of the legends in her related literature. I have done some research but feel as though I'm drowning in articles that seem too similar to each-other that are vague at best. I hoped for either a somewhat more knowledgeable answer to the question or a couple of ideas for good resources (or both).
I know there isn't a lot of evidence, and if there is any truth to it, it is most likely that King Arthur is actually an amalgam of multiple men. If pure myth, how is that this character became such a symbolic force in history to be touted as something more?


text:
By Liz Premo
Hampton Union , December 6, 2013
[The following article is courtesy of the Hampton Union and Seacoast Online.]
Marelli's Market in Hampton is celebrating 100 years in
business, still run by the son and granddaugters of
Luigi Marelli and Celestina Reggio. Marcia Hannon-Buber, left,
and Karen Raynes tell the story of Marelli's in their
new book about the century-old family-run store.
[Deb Cram photo]
HAMPTON — It all started with a poem penned from the heart, and bloomed into a book of treasured memories celebrating a family and a beloved landmark business.
And now, sisters Karen Raynes and Marcia Hannon-Buber — granddaughters of Luigi and Celestina Marelli — are preparing for the release of "Marelli's Market: The First 100 Years in Hampton, NH, 1914-2014."
The official launch of the sisters' newly published book is from 6-7:30 p.m. on Thursday, Dec. 12, at the family store, located downtown on Lafayette Road, across from Marelli Square.
The public is invited to stop by and share its favorite memories about one of Hampton's favorite landmarks. Copies of the book, published by Blue Petal Press, will be available for purchase at $15 per copy.
"The book is designed to commemorate 100 years of history associated with Marelli's Market, from its founders Luigi and Celestina Marelli to the present day family-owned and operated store," explained Marcia.
It was Karen who got things rolling early on with her poem, "I Did Not Ask," which appears in the book. Written about two years ago, the poem laments the loss of family memories because time wasn't taken to talk about them.
"Sometimes people aren't there to answer the questions you want to ask," she said simply.
A strong desire to seek out those answers — coupled with the research she conducted in 2009 to successfully get the store added to the state's Register of Historic Places — provided Karen with the inspiration to dig even further into Marelli family history.
The timing for researching for a potential book couldn't have been more perfect, especially with the market's 100th birthday approaching, and this year's observance of Hampton's 375th anniversary celebration.
According to Marcia, she and Karen "talked for years about writing a book, and Karen said 'If we don't do this now, we never will.'"
And so, the daughters of Fred Raynes and Jean Marelli Raynes began their journey in earnest, initially using photos taken from various family albums and inspecting them in order to jog their memories of what had taken place.
"You'd be surprised how much you can remember from looking at pictures — it's like a flood. You take from those waters and you feel everything you did back then, and somehow it reaches the paper," said Marcia. "Thoughts just pour into your mind of a place and time in which you may have been or not, but each picture tells its own story if you look for it."
As they continued recording their own individual memories, Marcia and Karen eventually asked other relatives to get involved by doing the same thing.
Marellis' Market in Hampton is celebrating 100 years in business
and it is still being run by the son and granddaugters of Luigi
Marelli and Celestina Reggio in Italy. From left are Richard Marelli,
Karen Raynes and Marcia Hannon-Buber. [Deb Cram photo]
"They all had great memories," said Karen. "A great majority of their stories are in the book. We could tell a thousand stories and there would be more, and we'd want to hear those stories, too."
Page after page of these and other memories of events from Marelli family history and the day-to-day workings at the store have been documented, mostly in the writers' own words.
"It tells about my grandmother and grandfather, a little bit of their history in Italy, how they came to the United States and how they raised their family here," said Karen. A portion of the book is dedicated to sharing "about the store in relation to the community."
It turns out that many of the stories rang equally true throughout the Marelli family, particularly among the cousins.
"I found it interesting they all remembered pretty much the same thing," said Marcia, including playing on the conveyor belt, running through the store after hours, indulging in ice cream, and perusing the store's famous wall of penny candy.
Other discoveries were made as well.
"In our research, there were two things that hit me profoundly," Marcia said. "First, the determination of our grandparents to make a good life in a new and foreign land, and the sacrifices they made daily. These made for wonderful accounts of factual stories and accounts of lives well-lived.
"Second, I remember finding my grandmother's last will. It was hand-written on yellowed paper and emanated such a profound sense of purpose. She was pregnant with her last child (Richard), and her duty and desire was to make sure that her family would survive even without her."
Another great discovery was Luigi's naturalization certificate — proof positive that his desire to become a bona fide American citizen was accomplished.
Marcia noted that while the book was being written, she and Karen kept in mind what she called "The Four H's" — History (100 years), Honor ("to commemorate our grandparents"), Heritage ("to venerate family importance") and Heart ("to remember our predecessors and patrons with gratitude.")
"We wanted to recognize hard work, as well as celebrate the enriched life that was realized through true friendships and lasting memories," Marcia said.
As things progressed, "I asked Cheryl Lassiter to be our editor," said Karen, referring to the Blue Petal Press owner and her fellow member of the Hampton Historical Society. "It was a really good move. I think it's a great collaboration."
The book underwent a couple of revisions, and the final version went to press last month.
Response to the book has already been "great," said Karen, adding that "word of mouth" has helped with early publicity. In fact, when a customer in the store asked a friend what she wanted for Christmas, the initial response was that she didn't want anything.
"Then she changed her mind and said, 'Yes, I want the Marelli book,'" recalled Karen. "I thought that was kind of neat."
When asked how she thought Luigi and Celestina would react to the book, Marcia said, "I think they would laugh and cry at the same time. They'd be so humbled; they were not ones to lay any claim to fame. (They'd say), 'This is just what we had to do.'"
The Marelli family story will be available at the market, said Karen, as well as at Kay's Kafé at the Galley Hatch and online at amazon.com.
"We're very proud of the book and the stories, and we hope people enjoy it," Karen said. "It has a lot of good Hampton history."
"I am overwhelmed at the enthusiasm from so many people," said Marcia. "As ever, all of us at Marelli's give thanks to the townspeople of Hampton for their interest as well as so many interested persons from surrounding towns. It is truly humbling."
Karen Raynes, left, and Marcia Hannon-Buber created a book
about the first 100 years of their grandparents' store. At center
is Richard Marelli.


text:
Psalm 82: 6 says, "I have said, Ye are gods; and all of you are children of the most High." Could you give me your understanding of this statement?
In the Hebrew Old Testament, the word translated here "gods" (elohim) is used in several different ways. Though plural in its grammatical form, it is used with singular verbs and pronouns when referring to the true and living God (as in Psalm 82:1, Genesis 1:1, Deuteronomy 4:24-25, 28-33, 39, and many other times). With plural verbs and pronouns it is used also of the false gods worshiped by the heathen (Deuteronomy 4:28, etc.), of the created angels (Psalm 8:5 as interpreted by the Holy Spirit in Hebrews 2:7), and of those men given authority from God to act for Him as judges and rulers (in Psalm 82:1, 6).
Context is all-important here. Vs. 1 depicts God standing "in the congregation of the mighty" and judging "among the gods." This might, by itself, refer to convening a heavenly court for the judgment of angels (see Job 1:6; 2:1), but the following verses make clear that what is meant by "the mighty ... the gods" is those human rulers who exercise power to judge in human affairs. They should do so in defense of the powerless (v. 3, 4), showing no partiality to the wicked (v. 2); but instead they judge unjustly, acting so in culpable ignorance (v. 5). Despite their presumption and their high calling—to act for God administering His justice (v. 6), they will die like the mere men they are. The truly righteous judge, God Himself, judges them.
Psalm 58:1 also speaks of the human civil authorities as "gods" in this manner. Without also calling them "gods", the apostle Paul in Romans 13 teaches that civil rulers receive their authority to rule from God and are appointed by God (vs. 1, all of this providentially, whether they acknowledge it or not, since Paul certainly had in mind the civil rulers of his own day who were almost all pagans), for the purpose of serving God in the exercise of punishing evil doers (vs. 4).
While Paul forbids us in Romans 12:19 to seek personal vengeance against any who wrong us, in Roman 13 he states that when civil rulers punish evil doers they are carrying out God's vengeance. Of course they do not do so perfectly and all rulers will answer to God for how they have used the power and authority granted them. That is the point of Psalm 82.
Our Lord Jesus quoted Psalm 82:6 when he was accused of blasphemy for having declared "I and the Father are one" (John 10:30-36). His enemies said, "For a good work we do not stone You, but for blasphemy, and because you, being a man, make yourself God." In reply, Jesus answered, "Is it not written in your law [law here meaning the entire Old Testament, including the Psalms], 'I said, "You are gods'? If He called them gods, to whom the word of God came—and the Scripture cannot be broken—do you say of Him whom the Father sanctified and sent into the world, 'You are blaspheming' because I said, 'I am the Son of God'?"
Our Lord appeals to their conviction (also his) that the Scriptures are the inspired Word of God, which cannot "be broken." If God could say of mere men, "You are gods," then it cannot be blasphemy when one who has been clearly revealed to be more than a mere man says "I and the Father are one" (v. 30) and "I am the Son of God" (v. 36). They were not convinced by our Lord's argument (v. 39), but it stands both as testimony to his heavenly origin (John 1:1,14) and to the identification of the "gods" in Psalm 82 as mere men.
Not knowing where you are coming from or what your larger interest may be in asking your question, I hope this is a helpful answer. Feel free to return for clarification or with further questions.
"Questions and Answers" is a weekly feature of the OPC website. The answers come from individual ministers in the Orthodox Presbyterian Church expressing their own convictions and do not necessarily represent an "official" position of the Church, especially in areas where the Standards of the Church (the Scriptures and the Westminster Confession of Faith and Catechisms) are silent.
The questions come from individuals like yourself. If you have questions about biblical and theological matters, you are invited to send them by e-mail by using the "Pose a Question" link on the OPC home page or by clicking here.
At least one new question is posted each week, so there should always be something new here for you to read. (For those people who would like to look at previous questions and answers, they will continue to be available as well.)
The purpose of the OPC website's "Questions and Answers" is to respond to biblical and theological questions. Matters of church discipline, disputes, or debates go beyond the scope of our work. We recommend that you present your concerns in these areas to the appropriate judicatory. In most cases this will be to a local pastor, elder, or session. We do not want the website to replace personal involvement in, or commitment to, the local, visible church.
While we will respond to every serious questioner, we are not bound to give a substantive answer to every question, should we deem the question to be beyond the scope of our purpose or our own ability to answer.
You will receive an answer by e-mail. Please be patient as many of our respondents are busy pastors. The response to your question may take up to two (2) weeks. Some of the questions submitted will be chosen to be posted here, along with the corresponding answers.
Note that the "Questions and Answers" posted on the site have been editedall personal references are removed, Scripture references or from some source may be added, and sometimes portions are expandedto make the questions and answers more useful to a larger audience.
|© 2020 The Orthodox Presbyterian Church
Chaplains and Military Personnel


text:
Toyota Service Center in Hayward, CA
Looking for a Toyota service center near you in the Hayward, Union City, Castro Valley, and Fremont areas? At AutoNation Toyota Hayward, we make servicing your vehicle an easy, convenient, and worry-free process. Whether you are coming in for scheduled maintenance, warranty work, or more extensive repairs, or even checking your tire pressure, you can rest assured knowing your Toyota will be in the hands of our expert technicians. By using only Toyota-specific parts, fluids, and equipment in servicing and repairing your vehicle, your Toyota will maintain the quality and feel that you fell in love with from day one.
To get started you can schedule a service appointment or give us a call at (510) 224-4854.
Why Choose AutoNation Toyota Hayward?
Here at AutoNation Toyota Hayward we employ only the most knowledgeable and experienced Toyota-certified technicians to service your vehicle. In a way, you can think of our technicians as doctors for your Toyota. When you go in for a health checkup, you trust that your doctor has the knowledge and equipment to diagnose and remedy any problem. At AutoNation Toyota Hayward our certified technicians take a similar approach in servicing and repairing your Toyota.
Our Toyota doctors are also well-equipped for any task, big or small. Just like how you would not want some cheap, off-the-shelf equipment diagnosing you at a doctor's office, we do not believe in using generic tools or parts when servicing your Toyota. Our expert technicians have access to the latest exclusive Toyota software updates, diagnostic tools, and service records, ensuring every vehicle is maintained and repaired in the correct way and to the latest Toyota standards. Take a peek inside the "operating room" at AutoNation Toyota Hayward, and you will find only the best tools and parts engineered to work exclusively with your Toyota.
When you have service done at AutoNation Toyota Hayward, our database maintains a history of your vehicle's repairs, even if it's as simple as a tire rotation. Having your vehicle's complete service history on hand helps us determine what is needed next, which is one less thing you have to worry about. You will not find these tools and technologies at any regular vehicle repair shop. Contact us today to schedule your next service. We look forward to getting your Toyota feeling like new again!
Service Hours
- Monday - Friday 7:00 AM - 7:00 PM
- Saturday 8:00 AM - 5:00 PM
- Sunday Closed
AutoNation Toyota Hayward
24773 Mission Boulevard
Directions Suite 1
Hayward, CA 94544
- Service: (510) 224-4854
AutoNation Toyota Hayward Service Center Amenities
AutoNation Toyota Hayward wants to make your service experience as comfortable and stress-free as possible. When you arrive at our service center, you will be greeted by one of our professional service advisors. They will go over your scheduled service, give you an estimate on how long it will take, and answer any additional questions you may have. While your vehicle is being tended to, you have two options. First, you may simply enjoy our premium waiting area which features:
- Comfortable lounge seating with magazines and a TV
- Free WiFi and outlets to charge your electronic devices
- Complimentary snacks and beverages
- Toyota accessories and gear for sale
We know your time is valuable. If your vehicle needs more extensive service, or you need to be somewhere else, we can arrange a loaner vehicle for you to use. At AutoNation Toyota Hayward, we hope to make servicing your vehicle less of a chore by providing you these convenient options.
Toyota Maintenance & Repair
Looking for a trusted Toyota maintenance and repair specialist near you in Hayward, CA? Our service center offers a wide range of Toyota maintenance services. Proper vehicle maintenance is a critical part in prolonging the life of your vehicle. That is why the team at AutoNation Toyota Hayward is here to help. Below you will find more information on available Toyota maintenance and repair services. Some of our most popular services include:
Oil Change
Changing the oil in your Toyota is a necessary step in maintaining your engine's reliability and performance. Performing an oil change is the easiest way to maintain the long-term health of your vehicle.
Brake Service
The brake pads on your Toyota will wear out over time, so replacing them is a necessity. Brake service should be part of your regular maintenance schedule so your vehicle is always able to stop effectively.
Tire Rotation
You need to rotate the tires on your Toyota to maintain even wear from front-to-back and side-to-side. Having your tires rotated at AutoNation Toyota Hayward on a regular basis will ensure they last as long as possible.
Your privacy is important to us.
AutoNation Toyota Hayward takes your privacy seriously and does not rent or sell your personal information to third parties without your consent. Read our privacy policy.


text:
With the news late in 2009 that the two were set to go their separate ways, perhaps the sting was balmed for fans a bit by the revelation a little while later that Wruhme would release a new mix for Kompakt in early 2011 and then unveil his long-awaited second album for DJ Koze's Pampa Records. The mix—another typically leaden Wighnomy-ism, Wuppdeckmischmampflow—was trademark Kompakt, a warm, elastic assembly that served as a kind of Wruhme aural comfort-food.
A suitable companion piece for that set, Wruhme's album, Thora Vukk, fittingly now finds him treading very similar terrain. An assembly of field recordings—from drawers shutting to more natural sounds like the fall of rain and children mumbling—laced into elegant, refined tracks, the album may best be described as "clinking glass minimalism." At its most intricate, it resembles a brighter take on the detailed layering, reliance on space and percussive trickery of mid-'00s Perlon or Cadenza. Offset by a series of "brücke," or bridge, pieces that function as short palette cleansers between slightly meatier tracks, it's not as though anything on Thora Vukk really slams though. In fact, it'd be hard to hear hints of his gonzo party-crafting in these soothing, warm-bath creations.
Instead, Wruhme leans more toward downtempo or ambient realms, revolving slowly around piano loops, faint percussive thumps and various unidentifiable rhythmic bounces. It's faint, delicate, almost polite, sometimes so distant and withdrawn it's like you're hearing slight musical musings from the other side of a wall. With glowing pads and one of the album's many melancholy piano loops, the title track almost seems to twinkle and buzz more than it bounces, and "Tulpa Ovi" is similarly contemplative, a comforting bit of cocktail-hour house. With its soft, loping percussion and ornate piano, "Prognosen Bomm" might result from Max Richter trying his hands at house music, while closer "Ende" tumbles along a shaky rhythm as it eases you into its hushed lullaby tones. With the end of his long-term partnership, Thora Vukk finds Wruhme in a period of serene self-reconsideration as a producer. He's channeled the overt melodicism of his/their CD mixes into something patient and quietly tender, and the result is another success both for him and for Pampa.
Published /
Fri / 29 Apr 2011
Words /
Derek Miller
Tracklist /
01. Wupp Dek
02. Thora Vukk
03. Bruecke Eins
04. Bommsen Boeff
05. Bruecke Zwei
06. Pnom Gobal
07. Bruecke Drei
08. Tulpa Ovi
09. Bruecke Vier
10. Prognosen Bomm
11. Bruecke Fuenf
12. Ende


text:
VISTA TL2-226Product code P960591 00002
Operator for telescopic sliding pedestrian doors with 2 leaves and max. weight 2x120 kg. useful passage 2650 mm and transom width 4200 mm.
Attention: To benefit from the official warranty on Bft products purchased online, you must check that the retailer is approved by Bft.Report a suspicious product or e-partner
A precise, safe and reliable technology.
Bft 24V technology ensures optimum performance with a precise adjustment of slowdown in closing and opening.
Safety is another key aspect, ensuring the immediate stopping and reversal of movement in the presence of obstacles.
The efficiency of the technology is a guarantee of the product's reliability.
For fast and safe programming.
EELINK is a system developed by BFT which, by means of connection to handheld programmers (Unipro, Uniradio and Proxima), makes it possible to transfer data from automatic systems to PCs and vice versa.
Thus EEdbase or U-base, the databases of the information stored in the installed systems, are constantly updated.
Thanks to this software it possible to associate the necessary personal details with each system: owner's address and details, name of maintenance technician, names of every remote control holder, etc.
With EElink, just press a few buttons to easily manage the customer base or preventive maintenance. Even operations that were once complex become easier: for example, reconfiguring the control unit or the radio receiver in case of replacement or the setup of a control panel, starting from a standard or custom configuration.
The thrust required to operate safely.
A smart torque management system based on the microprocessor technology of BFT control units.
Acquiring data from several indicators, it updates the level of thrust required to perform the operation.
D-Track also facilitates the installer in providing for the certifications required by law.
Conventional control units do not "read" the exact position of the gate and consequently apply constant thrust levels, without ensuring stable sensitivity during the opening and closing operations.
BFT control devices record the slightest variation in the gate or door force, for example due to differences in temperature or wear, constantly supplying the optimum torque to the motor.
A conventional control unit could not detect these thrust variations, which would result in it indicating the presence of non-existent obstacles.
The BFT system thus guarantees the maximum safety and perfect functioning of the equipment, no matter what the climactic and temperature conditions and degree of mechanical wear.
For safe transmission.
BFT transmitters use a rolling code system that manages the commands in a completely secure way and prevents any type of external violation.
When a transmitter key is pressed the command is sent to the control unit with a different code each time, identifiable only by the receiver and accepted only once.
The algorithm generated then prevents the reproduction of the code.
A single communication platform for all types of control units and receivers.
The innovative interconnectivity systems developed by Bft along with wireless connection solutions in the field of access point automation become integrated through the new U-link system communication protocol.
A technology designed and developed to operate using specific gateways for any type of physical media and communication protocol.
To fully facilitate installers in creating the system and in maintenance, Bft can offer solutions based on Bluetooth transmission systems in local and TCP/IP environments for remote connection.
U-Link ensures an absolutely stable standard, correct communication, as well as secure data protection thanks to two levels of encryption, offered by the data encryption system and password of the protocol and by the underlying communication system.
- U-Link is a technological platform that forms the heart of Bft products.
- U-link uses an open approach: by changing the B-Eba, Bft proprietary gateway, it is possible to adapt to many different communication languages.
- U-link is flexible: it can work with or without a network connection, depending on the B-Eba gateway installed.
- U-Link enables remote maintenance of the products thanks to two-way communication.
- U-link is scalable: an infinite number of objects can be added to a U-link network.
- U-Link allows the creation of groups of products: various B-Ebas can be grouped to allow individual or group control of the associated products.
U-link is an innovation that turns products into Bft solutions.
|Control unit
|Supply voltage AC
|Nominal power consumption
|Leaf type
|Number of doors
|Door weight
|2x120 kg
|Manual cycle
|Type of limit switch
|Encoder + mechanical stop for opening
|Clear opening
|800 ÷ 3300 mm
|Opening speed
|up to 100
|Closing speed
|up to 100
|Release lever
|Impact reaction
|Electronic torque limiter
|Use cycle
|Protection rating
|Environmental conditions
PGI Cod. P111158Bottom door guide for automatic doors with aluminium frame.Bottom door guide for automatic doors with aluminium frame.
PRV BR.48 Cod. P111618 00001Finishing brush 20 mm, length 2.5 m.Finishing brush 20 mm, length 2.5 m.
PRV BR.49 Cod. P111618 00002Finishing brush 27 mm, length 2.5 m.Finishing brush 27 mm, length 2.5 m.
PPA TL FX Cod. P111688Vista TL glass leaf fixing clamp.Vista TL glass leaf fixing clamp.
PPA TL GD Cod. P111689Floor guides for Vista TL glass leaves.Floor guides for Vista TL glass leaves.
PRV AA TL Cod. P111717Wing attachment profile for Vista TL, 5100 mm long.Wing attachment profile for Vista TL, 5100 mm long.
PPR Cod. P111156Door guide slide for automatic doors with aluminium frame.Door guide slide for automatic doors with aluminium frame.
SPRV TL T Cod. P111661Profile closing brackets, 5pcs.Profile closing brackets, 5pcs.
PRV TL T Cod. P111660Vista tl anodised closing profile, length 6.8 m.Vista tl anodised closing profile, length 6.8 m.
SLV SBV TL2 Cod. N733565 SBV TL side fixing brackets.SBV TL side fixing brackets.
ERV Cod. N733408Electric lock for VISTA SL, SL C, TL (use in conjunction with BBV recommended).Electric lock for VISTA SL, SL C, TL (use in conjunction with BBV recommended).
BBV SLC TL Cod. P111503Battery powered anti-panic device for VISTA SL C, TL.Battery powered anti-panic device for VISTA SL C, TL.
SPAC Cod. P111678Pair of locks (2) for glass leaf.Pair of locks (2) for glass leaf.
PPA TL 3200 O Cod. P111664 00002Clamps for glass leaf, 3200 mm, anodised.Clamps for glass leaf, 3200 mm, anodised.
PPA TL 3200 N Cod. P111664 00001Clamps for glass leaf, 3200 mm, natural.Clamps for glass leaf, 3200 mm, natural.
PPA TL 1600 O Cod. P111663 00002 Clamps for glass leaf, 1600 mm, anodised.Clamps for glass leaf, 1600 mm, anodised.
PPA TL 1600 N Cod. P111663 00001Clamps for glass leaf, 1600 mm, natural.Clamps for glass leaf, 1600 mm, natural.
SBV TL Cod. P111640 00001Vista TL support beam, length 6.82 m.Vista TL support beam, length 6.82 m.
SLV SBV TL1 Cod. N733564 SBV TL ceiling fixing brackets.SBV TL ceiling fixing brackets.
OA-AXIS II Cod. P111751Active infrared sensor for activation and security.Active infrared sensor for activation and security.
OA-AXIS T Cod. P111753Active infrared sensor for activation and security with safety test.Active infrared sensor for activation and security with safety test.
OA-PRESENCE TN Cod. P111755Active infrared sensor for security.Active infrared sensor for security.
OA-203C Cod. P111754Active infrared sensor for activation and presence.Active infrared sensor for activation and presence.
VIO-DT2 Cod. P111653Safety and bi-directional activation sensor, dual technology, monitored.Safety and bi-directional activation sensor, dual technology, monitored.
VIO-DT1 Cod. P111654Safety and mono-directional activation sensor, dual technology, monitored.Safety and mono-directional activation sensor, dual technology, monitored.
IXIO-DT1 Cod. P111655Safety and mono-directional activation sensor, dual technology, monitored, programmable c.telecom.Safety and mono-directional activation sensor, dual technology, monitored, programmable c.telecom.
VIO-ST Cod. P111656Infrared safety sensor, monitored.Infrared safety sensor, monitored.
VIO-M Cod. P111662Compact mono-directional activation sensor.Compact mono-directional activation sensor.
MAGIC SWITCH Cod. P111676Activation touch button.Activation touch button.
OT 3 Cod. P111759Elbow-operated pushbutton, silver.Elbow-operated pushbutton, silver.
PUSH PLATE Cod. P111677Activation button.Activation button.


text:
I have started work on a proof-of-concept application, which requires the following functionality.
- The app stays on top of all other apps - (no problem)
- If the mouse is focused on another program, and the left mouse button is down then the mouse must not be able to enter the application at all, and will stop at the edge, even if the user continues to attempt to drag it, and the focus must remain on the external application.
- If the user is not currently interacting with the external application, and enters my app, then they can do so and interact with the app as they choose.
The ideal solution would be to somehow prevent the mouse from ever entering a defined area of the screen (ie defined by the frame boundry). This restriction would be enabled only when the left-button is down.
Detecting whether the left-button is down outside my app is doable but tedious, using JNI.
Preventing the mouse ever entering a region or frame is still beyond me, after much searching.
The solution i have currently implemented involves the following:
1) polling and recording the mouse location state using MouseInfo every 10 ms, and so long as the mouse is not within the region (determined using Polygon.contains(mouseLocation))
2) using a MouseListener, and the mouseEntered and mouseExited events to record whether or not the mouse is in the frame. (The mouseEntered event will not be triggered if the mouse is being dragged on the external application)
3) if the polling determines that the mouse is inside the frame, but the mouseEntered event has not be fired, then the mouse-button IS thus down, and so i use the Robot to move the mouse back to the last recorded position outside the application.
This approach works somewhat, but is far from ideal, because the mouse is moved quickly then the last recorded position could be far from the edge of the app, and the point where the intrusion of the mouse into the app was detected could be deep within its borders.
It would be much better if i could exclude the region defined by the border of the app completely under the conditions i described. I would prefer not to use JNI if there is a pure java solution, but will do so if there is no other way.
Does anyone have a better solution to the one i implemented, whether with JNI or not?
Thank you in advance,
Morgan Johnston


text:
The historic home was in need of new siding, windows, aluminum gutters, entry doors, garage doors and a roof. Thrush & Son was up to the task and came with a plan to reverse the storm's destruction. To accomplish the team's goal of restoring the historic roof, Thrush & Son relied upon the safety and security of a shingle roof system to get the job done.
Rebuilding History in Centerville
Thrush & Son provided the homeowners, the Utz family, with a detailed, step-by-step, analysis of the damage to their home, as well as a two-pronged proposal. The company's immediate goal was to restore the home to the way it was before the storm. Thrush & Son also felt that improving the quality of the home was important. To be successful with its restoration plan, Thrush & Son recommended the Signature Select System featuring Starter Shingles, Pro-Cut Hip & Ridge, Gorilla Guard Underlayment and 76 squares of StormMaster Slate Blackstone. Thrush & Son believed this line would not only hold true to the character of the home, but also bring back some of its authenticity.
It didn't take much to convince the Utz family, who liked the idea of a 20-year extended premium protection period (as well as the lifetime warranty), to choose the full Signature Select System for the home.
Corey Thrush, chief marketing officer for Thrush & Son, explained why the Signature Select System was chosen for the project: "Having new shingles installed is something homeowners will only have to do once or twice in their lifetime and we wanted to help them get it right the first time around. The home was not just important to the Utz family, but as one of the original homes in Centerville, it holds a special place in the hearts of the townspeople as well."
Choosing Shingles
The big storm took a toll on the old house. Thrush & Son, who have been preferred contractors of the roofing manufacturer since 2012, knew right away that the Signature Select System's products would be perfect for the job. "We have been using Atlas products for a number of years," Thrush notes. "And we have seen the continued evolution of not only the products, but the company, as well."The original structure had undergone many modifications during the past century, including different roof pitches and dead valleys. Because of the alterations, Thrush & Son had to make several changes to the home. Removing the box gutters, cutting off the rafter tails and installing new fascia board were critical to the project. With the preliminary work out of the way, Thrush & Son was happy to put the Signature Select System to work.
Home Sweet Home
Despite the many challenges, Thrush & Son was soon able to restore the historic house. Thrush & Son used metal valleys during the StormMaster Slate application, which allowed the shingles to be installed from one pitch to the next without complications. This application also helps with the unsightly appearance of a hump in the roof due to a no-cut valley, a straight cut valley or a woven valley. Additionally, because the Signature Select System was so easy to work with, roofers were able to do the job quickly so the project was completed on time.
The newly finished roof will provide the Utz family with unmatched protection for years to come. StormMaster Slate shingles have a Class 4 impact resistance rating to help resist hailstorms. They also offer a 130-mph Wind Limited Warranty, which is the ultimate security against strong winds. Finally, the power of Scotchgard Protector will keep the architectural shingles beautiful year after year, as they prevent the ugly black streaks caused by algae.
Celebrating the successful completion of the project, Thrush praised the roofing system. "We believe the product is a great partnership for us, as well as for the homeowner," he said. "We always install the entire Signature Select System to ensure the customer gets the extra 10 years of premium protection before the proration begins."
Finally, with the warranty submitted and the renovations complete, the customer (and the entire town of Centerville) can rest easy because the historic home is now protected by a new roofing system.
Roof Materials
Signature Select System from Atlas Roofing
PHOTOS: Atlas Roofing


text:
little venice 'petite venise' colmar alsace france
restaurant terrace little venice 'petite venise' colmar alsace france
Colmar city, Alscae, stock photography samples, by Per Karlsson, BKWine.
THIS IS ONLY A SELECTION OF SAMPLE PICTURES. Use the image SEARCH function to find more relevant photos.
Colmar is a small city (or big town) in the heart of the Alsace wine region. It is the capital of the department Haut-Rhin and is sometimes considered as the capital of the wine district too.
Colmar is an excellent base from which to do excursions in the vineyards to discover all the producers in Alsace. It has an old city centre with many beautiful old half-timbered houses. There is a part called Little Venice (Petite Venis) with old canals – an enchanting area for a night time stroll or to have a glass of wine in one of the cafés. It is also called the tanners' district since the canals were once used as water supply to tanneries.
The city is today a very attractive tourism destination with charming hotels and many restaurants. You should not miss trying the local pizza (don't let them know we called it that!) the flammekueche – a delicious, very, very thin dough with various kinds of 'filling' on top. the French word for it is tarte flambée, but it is far from any other kind of tarte. Order one, and then when you're finished you order another and another if you want more.
You should visit the Unterlinden museum with art and local history. There is a beautiful Eglise Saint Martin church, the famous Maison Pfister with carved wood sculptures, Koifhuis (old customs) and many more sights. And of course many occasions to taste the Alsatian wines.
All pictures © copyright Per Karlsson, BKWine. Photos may not be used without our permission.
Alsace Colmar Town stock photo samples – Images by Per Karlsson


text:
Sunday marks the two-year anniversary of Yingying Zhang's disappearance. Her kidnapping has left a mark on the University of Illinois campus as the trial of the man accused of her killing gets underway.
How do you deep-fry giardiniera? We find out in the first installment of our weekly summer series Deep Frydays, where we go deep on an iconic Chicago food and then sacrifice it to sizzling oil.
Ald. Ed Burke gets his day in court. Gov. J.B. Pritzker gets his budget priorities passed. Chicago grapples with a spike in violence. And the Cubs get some much-needed pitching help.
Paris Schutz and guests discuss more of the week's news: Mayor Lori Lightfoot appoints a new board to oversee Chicago Public Schools, and a dramatic "Jeopardy!" run draws to a close.
Free-agent closer Craig Kimbrel has agreed to a three-year contract with the Cubs in a big move to strengthen Chicago's bullpen.
Even if you rely more on sight and smell to size up foods, you might be surprised by the risks and practices around food spoilage.
The titles of the four pieces provide a telling suggestion of the psychologically probing works being performed with the company's trademark blend of uncanny fluidity, plasticity, control and ensemble perfection.
For the sixth year, O'Hare International Airport is using a herd of wild animals to manage the airport's vegetation in an environmentally friendly way.