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In the 1937 edition of the New England Quarterly (vol. 10, no. 2), Thomas H. Johnson provides a background to the newly published works of Edward Taylor. At his death on June 24, 1729 (age 87) the first minister in the town of Westfield, Massachusetts. He had been born in England in 1644 and arrived in New England on July 5, 1668. After completing his time at Harvard in 1671 (being somewhat older than his classmates).
He thereafter went to the frontier to minister. He seems to have had exposure to George Herbert at the very least in terms of a poetical inspiration. He left behind a four hundred page morocco-covered bound quarto volume of carefully copied verse. Taylor left instructions that none of is writing were allowed to be published.
Taylor willed his library to his son-in-law Isaac Stiles. The volume poetry seems to have been included in that disposal. The volume then made it to the Ezra Stiles, president of Yale. From there it came to Stiles’ nephew Henry Taylor who presented the volume to Yale (1883). And finally it was published by Thomas Johnson when he discovered the manuscript in the Yale library.
The poems published in the New England Quarterly were the first poems published from Taylor’s manuscript.
But cannot now unscrew Love’s cabinet.
Say not this is a niggard’s complement.
To send thee th’cabbinet, and pearl together.
Paraphrase: The poet desires to send to God some gift as recompense for great gift (the glorious robes) he has received. But he cannot open himself and find something separate to give: he cannot separate his affection from himself — and so he gives himself with his affection.
29 And Jesus answered him, The first of all the commandments is, Hear, O Israel; The Lord our God is one Lord: 30 And thou shalt love the Lord thy God with all thy heart, and with all thy soul, and with all thy mind, and with all thy strength: this is the first commandment. 31 And the second is like, namely this, Thou shalt love thy neighbour as thyself. There is none other commandment greater than these.
A note on “niggard”: unfortunately, some people are confused by the the Middle English nyggard, stingy, miser. It has nothing to do with the racial slur.
That thou hast brought out of thy grave for thine?
They do outshine the sunshine, grace the rose.
I leap for joy to think, shall these be mine?
Clothed with the sun, and crowned with twelve stars.
Paraphrase: The poet who is “naked”(except perhaps a winding sheet) and a “blot”. The poet whose bell should chime the Lord’s praise hears the bell toll his own death. Here he naked looks upon the Lord’s grave (who died for him). The Lord arising from the grave brings glorious robes to clothe the poet –and such robes are for all who wait upon the Lord’s wars.
Biblical and Doctrinal Allusions: This stanza describes perhaps the crown jewel of protestant — particularly evangelical (in its classic since, not in the vague, not terribly Christian sense used in the United States) Christianity: penal substitutionary atonement. Put as plainly as possible: sinful human beings exchange their sin and shame for Christ’s glory. Christ bears their sin into his grave and gives to them the glory he has earned in overcoming death.
9 Knowing that Christ being raised from the dead dieth no more; death hath no more dominion over him. 10 For in that he died, he died unto sin once: but in that he liveth, he liveth unto God.
1 And after six days Jesus taketh Peter, James, and John his brother, and bringeth them up into an high mountain apart, 2 And was transfigured before them: and his face did shine as the sun, and his raiment was white as the light.
1 And there appeared a great wonder in heaven; a woman clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars: 2 And she being with child cried, travailing in birth, and pained to be delivered.
They are given white robes and are told to waiting until the remaining martyrs (from the wars?) are fulfilled. Such wars are obviously not political wars of any sort.
Allusions in contemporary pastoral work. I cannot say for certain what particular books Taylor had in possession. But, the Puritan ministers of Taylor’s age and before had a tendency to use certain common tropes. This particular trope of receiving a robe is well-attested prior to Taylor and it appears in Jonathan Edwards, in the same location as Taylor and somewhat later than Taylor.
Why then should we be afraid of death? For then there shall be a further degree of glory of the soul, and after that a further degree of body and soul, when our bodies shall be conformable to the glorious body of Christ, when they shall be spiritual, as it is in 1 Cor. 15:44. I beseech you, therefore, let, us learn this to comfort ourselves against those dark times of dissolution, when we shall see an end of all other glory. All worldly glory shall end in the dust, and lie down in the grave; when we must say that ‘rottenness is our father,’ and the ‘worm our mother,’ Job. 17:14. We can claim no other kin in regard of our body, yet then we shall be more glorious in regard of our souls. Christ shall put a robe of glory upon us, and then afterward we shall be more glorious still.
Richard Sibbes, “The Excellency of the Gospel Above the Law”, in The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 4 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; W. Robertson, 1863), 287. Published originally in 1639.
Richard Sibbes, “The General Resurrection” in The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 7 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; W. Robertson, 1864), 326. Published 1629.
This suffering state of the church is in Scripture represented as a state of the church’s travail, John 16:20–21 [“… ye shall weep and lament.… A woman when she is in travail hath sorrow, because her hour is come”]. And Rev. 12:1–2 [“And there appeared a great wonder in heaven; a woman clothed with the sun.… And she being with child cried, travailing in birth, and pained to be delivered”]. What the church is in travail striving to bring forth during this time, is that glory and prosperity to the church that shall be after the fall of Antichrist, and then shall she bring forth her child.3 This is a long time of the church’s trouble and affliction, and is so spoken of in Scripture, though it be spoken as being but a little season in comparison of the eternal prosperity of the church. Hence the church under the long continuance of this affliction cries out, as in Rev. 6:10, “How long, O Lord, holy and true, [dost thou not judge and avenge our blood on them that dwell on the earth].” And we are told that, “white robes [were given unto every one of them; and it was said unto them, that they should rest yet for a little season, until their fellowservants also and their brethren, that should be killed as they were, should be fulfilled].”4 So in the twelfth [chapter] of Daniel, sixth verse, “How long shall it be to the end of these wonders?
Jonathan Edwards, “Sermon Twenty,” in A History of the Work of Redemption, ed. John F. Wilson and John E. Smith, vol. 9, The Works of Jonathan Edwards (New Haven; London: Yale University Press, 1989), 373–374.
They do outSHINE the SUNSHINE, GRACE the ROSE. There are three accented syllables in a row bridging the pause. The “outshine” and “sunshine” repetition is interesting: the repetition of vowels and consonants makes it difficult to say the words quickly. The slight variation creates a rhyming effect. The use of a cretic (‘-‘) in the final foot brings the entire movement to a stop (this is underscored by the period at the end of this line). It puts great emphasis upon the glory of the robes given. The robes are brighter than the sun, more beautiful than a rose. Such is the glory which Christ gives His. This is the key movement of Christianity: the merit lies all and solely in Christ. It is all borrowed glory; and once given, the glory acts to transform.
Aches seeing how my thoughts in snick-snarls run.
While I instead of any, am all blot.
Paraphrase: I am taken by many lesser glories, a work of art, beauty in nature (it should be noted there here is an example of nature being seen as beautiful by a man living on the edge of a dangerous wilderness — and before the Romantics), my heart is taken with the glory. My thoughts become overwhelmed with these lesser sights. But all such glory is nothing compared with God’s glory; while I am on who is marked by the utter absence of glory.
Snick-snarl: What a wonderful phrase. An essay entitled, ” The Lincolnshire Dialect in the Eighteenth Century” defines it as follows, “Snick Snarl, a, curling up (particularly burnt leather). [Wright defines as “a tangle in thread etc.”].” http://www.cantab.net/users/michael.behrend/repubs/lincs_dialect_18c/pages/main.html It’s one of the words that sound like its meaning.
Scansion: The third and fourth line have a jerky movement which slows the reading and forces attention on the meaning: The first word “pour” has an uncertain weight. It could be read POUR out or Pour OUT. The phrase “o’reflowing glory: oh!”, while regular o’reFLOWing GLORy, OH, has an interesting effect based upon the assonance the repetition of O, including OR, twice. It is impossible to say the phrase quickly. One must to even say the words. It is made more difficult to pronounce because the scansion is regular, “overflowing glory” would much easier and quicker.
Another interesting movement runs from line 3 to 4, “OH! my HEART/ACHES, the emphasis thus thrown on “aches”.
Which has the idea of effulgence or radiance. If there is an “overflowing glory” and effulgence of glory in the creature, how much more glory in the Creator.
My soul stark naked, rolled all in mire, undone.
Thy Bell may toll my passing peale to Hell.
Nor Dead than I. Hence oh! the Judgment Day.
Paraphrase: It is true, I am completely backward, undone, almost unreal. And I have a sad tale to tell. I was completely without any righteousness of my own (naked, explained below) and on my way to Hell. There has never been a man more ruined, more deserving of judgment than me.
This parallels the language of Revelation 19 where the garments are given (or not as the case may be) to make on fitting to present at the eschatological joy.
22 But the father said to his servants, ‘Bring quickly the best robe, and put it on him, and put a ring on his hand, and shoes on his feet. 23 And bring the fattened calf and kill it, and let us eat and celebrate. 24 For this my son was dead, and is alive again; he was lost, and is found.’ And they began to celebrate.
This usage combines both the picture of clothing the unworthy and the dead being naked (implied of the son, albeit figurative).
Thus, Taylor’s use of being naked (which will be matched in the fourth stanza by Christ providing robes to the naked poet) has deep roots in Christian thought. We are called to a feast, but can only attend if we are properly dressed. If we come without the necessary robes (the righteousness of Christ), we will be rejected. To come to this feast and to be clothed as to be as one who was dead but now is alive. To refuse to understand our need is to be still dead and naked.
The bell: the bell which was to chime the praise of Christ here appears to be toll the death knell of the poet.
Pillard: I cannot find a reference beyond the French which means looter or spoiled. Poor ruined one may be an appropriate gloss.
Scansion: One notable rhythm: NONE in their winding sheet more naked stay. The heavy accent on the first syllable acts like a double underscore. That “none” sounds like a bell toll. As the funeral proceeds, the bell tolls out “NONE, NONE” — this is the chief of sinner.
Their clappers, or their cell-ropes want even now?
Or those that can thy changes sweetly ring?
What is a scar-fire broken out? No, no.
The bells would backward ring if it was so.
This poem will speak to the poet’s inability to rightly praise God, he “cannot unscrew [open] love’s cabinet” (which holds his love and praise). It begins with this strange discussion of bells. (That image of bells will appear later as possibly tolling the poet’s death).
Paraphrased: Why should these bells lack a clapper or rope when they should being playing in praise to you?
The rhythm is regular until the final turn of line three “even now”. That accent on the first syllable of “EVen” forces one to stop and underscores the point: At this moment — when I should be praising — I cannot.
Bread of the Presence. Loaves of bread placed on a special table in the sanctuary or Holy Place of the tabernacle and later in the temple. Two other terms in the OT are used to describe the “bread of the Presence,” which means bread that has been set before the Lord’s face (Ex 25:23, 30; 35:13; 39:36; 1 Kgs 7:48; 2 Chr 4:19). The term “showbread” (kjv shewbread) refers to the arrangement of the bread in rows on the table (1 Chr 9:32; 23:29; 28:16; 2 Chr 2:4; 13:11; 29:18). The term “continual bread” refers to its perpetual offering (Nm 4:7).
David W. Wead, “Bread of the Presence,” Baker Encyclopedia of the Bible (Grand Rapids, MI: Baker Book House, 1988), 379. By referring to the “shewbread” being on the Lord’s table, it is most likely that Taylor is referring to Lord’s Supper.
Thus, here at the moment where I am contemplating the great gift of God, I find that my praise lacks voice.
Robert Nares Glossary (1859) of idioms and phrases of Shakespeare and contemporaries explains “scar-fire” as “scar-fire or scarefire: an alarm of fire. The cry fire! fire!” It could also refer to the fire itself.
Than by one to hazard all.
Could mean there was a question as to whether a fire had broken out, or an alarm of fire. Either would support the meaning.
Why cannot the poet praise God? Is it because some fire had broken out and destroyed the bells? No, that would be impossible. The “backward” will be picked up in the next stanza.
The poet begins with a seemingly impossible scene: a King of unsurpassed glory who blazes like the sun (whose crown a bunch of sunbeams was). Even his throne is made of life (sat on a cushion all of sunshine clear). The palace itself is a mass of precious stones.
Prize such as in his favor shrine me would.
Now, if there were such a place, he would desire the honor and fellowship of that king (I should prize such as in his favor shrine me would).
Of precious stones; and to this king also.
With brighter beams than e’re the sun let fall.
This stanza continues on with the imagery from the throne room of heaven in Revelation 4 & 5 and the depiction of heaven in chapters 21-22. The Lord gives us access unto this throne. It is interesting in this poem that it is the “words” in particular which are embellished and brighter than the sun.
The words of Christ — whose is the Word of God — are what grants access to this throne. In John 6:48, Peter says that Christ has the words of eternal life. In John 15:3, Jesus says that the disciples are clean because of the word he has spoken. The topic is too big for this discussion, but it is present here.
More blockish than a block, as blockhead, stand.
On toys, they snail-like move to kiss thy hand.
That would above the Milky Way me guide.
Here he notes the common complaint of all who being to realize the astounding grant of God in Christ: What could be more wonderful than access to God? But, the things which most easily excite my affections are bauble, “toys”. What stupidity to treasure toys when endless beauty and glory can be had for the reception?
His despair now turns to God: Why should this even be? What is the aim of God in letting such a fool access to such wonder?
What aim’st at, Lord? [What do you aim at] that I should be so cross.
My mind is leaden in thy golden shine.
Doth touch it with it smutting leaden lines.
What shall an eagle t’catch a fly thus run?
Or angel dive after a mote inth’sun?
My presence, my words, my hand can only make things dirty (smutting). An eagle wouldn’t chase down a fly. An angel wouldn’t chance dust — why this with me?
And thus, he turns the fire of his poem upon himself: I should be wracked with sorrow and tears at my evil. I can see this is true of me, and yet the tears are missing. I have this knowledge: but not the affections. I should attack myself for this foolishness – but I can’t.
I can’t. Mine eyes, Lord, shed no tears but ink.
My hand works, are words, and wordiness.
though from thy glorious self they’re stole away.
His heart is set upon the tokens and marks of the world — which are just, at best stolen glory.
Here he poem makes a turn: repentance.
The genius — if you will — of Christianity is that it both shows human beings our poverty and foolishness — our depravity and then it leads us to desire to be free: but we are not freed by our personal effort, but by the gracious work of God.
To garnish o’re this worthy work of thine.
In sacred flames, I to thee offer would.
Examine what affections we have to God: for it is affection that makes a Christian.
Richard Sibbes, The Complete Works of Richard Sibbes, ed. Alexander Balloch Grosart, vol. 6 (Edinburgh; London; Dublin: James Nichol; James Nisbet and Co.; W. Robertson, 1863), 10.
And lead me to thy Father’s house above.
Thy grace’s storehouse make my soul I pray.
Thy praise shall then wear tassels of my love.
I’ll be the golden trumpet of thy praise.
Make a man who can praise you; transform me (lead me) and dress me in love for you and I’ll praise you. The desire to praise Christ — who is worthy of such praise is the hope of the Christian. This is not a servile praise but honest joy. We praise many lesser things — and our greatest moments of joy are in those moments we praise.
The previous post on this poem may be found here.
And shall I be his spouse? How good is this?
But not too good to be believed by me.
This stanza repeats the theme of the previous two stanzas: the wonder that God should love human beings; that Christ should join himself to such as us. There are two movements which must take place to fully appreciate what the poet does here: the first is to fully understand what he does in the poem itself. The second is to move past our natural prejudice in favor of ourselves.
And shall I be his spouse?
The them of this section is the sheer improbability that Christ should love the poet. There are three aspects of this: First, there is the comparison of Christ to a king and the poet to a loathsome creature. Second, the reference to “being tumble all in sin.” Third, that such a one should be brought into intimate relationship.
a MITE, FLY, WORM, ANT, SERpent, DEVil is. The lien can only be read very slowly and then tails off. The idea picks up in the third line OR can be, which comes along as an afterthought. Of these vermin, ants, worms, and serpents appeared in the previous stanza.
We miss the horror here if we don’t stop to realize what life is like without houses which are sealed against the weather, and screens, and traps, and poisons, and medicines and antidotes. Imagine being invested with mites or worms and being unable to rid your body of the beasts infecting you. Imagine ants and flies getting into and spoiling all of the food which you could have. Imagine fearing that a snake would strike unaware and kill. And most moderns could not imagine any sort of devil that did not exist only in horror movies and was capable of being driven off with a crucifix. When you read this line, you must have a sense of disgust, fear and an uncanny horror.
4 For thou art not a God that hath pleasure in wickedness: neither shall evil dwell with thee. 5 The foolish shall not stand in thy sight: thou hatest all workers of iniquity. 6 Thou shalt destroy them that speak leasing: the LORD will abhor the bloody and deceitful man.
We fail to understand what is happening here as long as we think of sin solely in terms of discrete actions. Yes, sin entails discrete acts of sin. But is also a status offense (as such things are called in the law). It is like being an illegal alien in a country: the status is an offense even without additional bad acts. The Mosaic covenant aims at this concept by the matter of being ritually clean or unclean. Many things which were morally neutral were unclean. Likewise inanimate objects could be “holy” because they were dedicated to God.
To be tumbled in sin is to be subsumed it: to be repulsive, unclean.
We see in this a hint at why “belief” is at the core of receipt of justification, right standing with God. To believe this gift is to receive it with joy and thankfulness. It is not a bare historical opinion that some event took place. It is a joyful reception of something marvelous being offered.
And street pure gold, like to transparent glass.
How saints and angels ravished are in glee.
18 And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass. 19 And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald; 20 The fifth, sardonyx; the sixth, sardius; the seventh, chrysolite; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst. 21 And the twelve gates were twelve pearls; every several gate was of one pearl: and the street of the city was pure gold, as it were transparent glass.
Meter: Note in the first line there is the standard iamb, followed by a trochee which forces attention upon the I: would GOD I in that GOLden CITy WERE. It is his presence in the place which is emphasized in the meter.
And pave the golden street with greater light.
But I poor snake crawl here, scare mud walled in.
Reference “I poor snake crawl here”. I an ironic reference to Genesis 3:1 where the Serpent (Satan) appears as a snake to tempt Eve. Genesis 3:15 makes reference to the “seed/offspring of the serpent”. Being subjected to the Fall and the Curse, human beings have now been brought low.
Meter: “Story/Glory”, end the first and third lines. The line scan 11 syllables with a feminine rhyme on the 10 & 11th syllables.
Paraphrase: The story of the poet’s salvation (his coming to this city) of such a marvel that if it were known, it would impart a greater glory to the place than is possible in the mere stones and gold. Those things are beautiful, but the story of the poet’s salvation is greater still.
With it in songs, they saint and angels sing.
Meter: In the first line of the phrase “blunt tongue” again creates a pair of accented syllables by running a trochee after an iamb. The effect is jarring, underscoring the bluntness of his tongue.
3 Blessed be the God and Father of our Lord Jesus Christ, who hath blessed us with all spiritual blessings in heavenly places in Christ: 4 According as he hath chosen us in him before the foundation of the world, that we should be holy and without blame before him in love: 5 Having predestinated us unto the adoption of children by Jesus Christ to himself, according to the good pleasure of his will, 6 To the praise of the glory of his grace, wherein he hath made us accepted in the beloved.
Paraphrase: The poet is unable to sing in any manner worthy of God’s glory (much less saints made perfect or the angelic world). Therefore, he will “spell” his story: he will write it out in this poem. His hope is that by spelling it out, an angel may over his story and bring the story back to heaven where the angel’s far greater abilities will make it possible to recount the story (given in this poem) in a song worthy of God’s gory.


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industry_corpus2: Politics & Administration


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but she definitely appreciated the landscape and the greens.
We are giving away a replica of a pillow that illustrator and designer Alexander Girard gifted to Georgia O'Keeffe. The original "International Love" pillow still sits in her Abiquiu, New Mexico home today, and you can see it when you take the tour. The heart is created with the word "love" in sixteen different languages... genius, we think! And the perfect sentiment for the holiday season.
1. Identify the prize – Approximately 16" x 16" cover with pillow insert; value $65 estimated.
2. Who can enter – Entrants must have a valid email address and must live in the United States, for mailing purposes.
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4. How to enter – Provide your email address through the online form at www.okeeffecountry.com/lucky.html. Your email will remain private, and will not be given to or used by anyone other than okeeffecountry.com, at which point you will be able to opt-out of all further communication.
5. How Winner Is Chosen – We will choose one email address at random as the winner on December 10. The winner will be notified via email.
6. Technical Issues – Please enter only once. All duplicates will be eliminated. If you experience any difficulties filling out the online form, please send your email address (your entry) to okeeffecountry@gmail.com.
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LIVE: What to do, adventure, activities, and where to stay and eat.
LOVE: Things to buy and collect, and places to linger and explore.
LOOK: Find the main destinations in O'Keeffe Country by town and trail.
LEARN: Links to Georgia O'Keeffe, and resources for your imagination.
LOCAL: Links to our favorite Northern New Mexico stores and vendors.
LUCKY: Well, go find out!
her own recipes, and enjoyed the delicious simplicity of a well-thought-out, healthy meal. O'Keeffe had a unique perspective on food for the time, really appreciating fresh foods that were in season, and grown and handled with care.
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talented folk artists who live and work in the region.
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industry_corpus2: Travel & Geography


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Shireen is a UBC Human Kinetics 2010 graduate. She specializes in physical rehabilitation treating neurological disorders, concussion rehabilitation, orthopedic injuries and motor vehicle accidents. In addition, Shireen steers the Kinesiology mentorship program offering students and Kinesiology graduates the opportunity to develop their skills in a clinical setting.
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industry_corpus2: Health & Medicine


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COLOR THEORIES____The Good, the Bad and the UselessAlthough the use of color is not without pitfalls, unlikedrawing or pictorial composition, it is the most flexible andtolerant of individual taste of all the aspects of painting. Whilemany of us a seem to born with the ability to draw, few of us areborn colorists simply because good color can be achieved onlythrough an intelligent approach born of proper study.No other element of Art has more mystery surrounding it thanthe study of color. From that mystery have arisen countless colortheories. Some theories have strong foundations built on provenand observable fact. Other of these theories are, well---frankly,they are bizarre. In the beginning of this chapter we'll discuss abit of the history surrounding a few of the more bizarre and,unfortunately, influential theories which continue to bring newterrors to students of color. My opinions may fly in the face ofwhat you've learnt at university, but please give them a hearing.
In the chaos following the First World War, the ashes ofGermany became the breeding ground for a new social order.Socialism took firm root in the fertile ground of post-wardiscontent. Socialist thought crept into everything, even unlikelyareas like the arts, and it gave birth to the artisticmanifesto.With their many manifestos, the new men of the NewSociety shouted down figurative painting as merely "illustratingthe myths of the intellectual bourgeois." These new anti-intellectuals set about to create art forms which would becomeillustrations of their social and political manifestos.Out of that curious period came this call to arms of theNovembergruppe; "Painters, Architects, Sculptors, you whom thebourgeoisie pays with high rewards for your work---out of vanity,snobbery, and boredom---Hear! To this money clings the sweat andblood and nervous energy of thousands of poor hounded humanbeings---Hear! It is unclean profit . . . we must be truesocialists--- we must kindle the highest socialist virtue: thebrotherhood of man."Walter Gropius, apart from founding the Bauhaus, was alsochairman of the Novembergruppe's Arbeitsrat fur Kunst (WorkingCouncil for Art). He sought to join all of the arts together"under the wing of a great architecture." Appointing himself GreatArchitect and sounding much like the jackbooted men who would soonfollow, he wrote "the intellectual bourgeois has proved himselfunfit to be the bearer of a German culture." He predicted aBauhaus/Socialist New World Order arising from unsuspectedquarters when he wrote, "New, intellectually undeveloped levelsof our people are rising from the depths. They are our chiefhope." Unfortunately, he got his wish . . . and the world got Hitler.A common thread joined those art forms spawned by the newanti-intellectualism. Artistic movements like Futurism, Vorticism,Orphism, Purism and Surrealism, were distinguished not so much asaesthetic movements but as esoteric codes designed to baffle thehated bourgeoisie (never mind that later Socialists would rejectthese incomprehensibly coded aesthetic messages to seek comfort inthe most puerile and saccharine of bourgeois art, and never mindthat the artists themselves became the prototypes of thesuccessful capitalist). It was only natural that, in those giddyearly years, The Movement would produce its own peculiar theoriesconcerning politically correct ways of seeing. Rising out of thisyeasty mix of aesthetics and politics and armed with correct newcolor theories and a reformer's zeal, sprung Josef Albers andJohannes Itten.Albers and Itten's color theories had little to do with thepractical problems encountered by the figurative artist. To their way ofthinking, that was all to the better. But when World Socialism finallyrejected their ideas as counter- revolutionary, they, along with Gropius, beat ahasty retreat to those places still cordial to arcane and unprovabletheories...the universities. The sheltered hot house atmosphere of theuniversity provided a congenial rallying place where countless studentsjourneyed forth to kneel at the feet of their idols. The trouble was, thosestudents never got up off their knees--- they went on to teach thoseunworkable coded theories to the next generation of easily gulled students.Itten's book, The Art of Color, attempted to validate histheories through a clever technique well known in advertisingagencies. By juxtaposing his color charts next to the work ofgreat painters he hoped to add credence to his theories.Strangely, Itten chose painters who died well before the advent ofthe modern pigments and colors shown in his charts. Those greatmaster's pictures have as little bearing on his color theories asare the trim young models in beer commercials a result of drinkingthe advertiser's product.To appear original, Itten abandoned the ten-colorwheel of the Munsell System in order to create his idiosyncraticTwelve Color Star and a seven value Color Sphere. The dilemma was;how was the artist to apply rigidly circumscribed charts, blocks,stars and spheres of color to painting the delicate passagesinherent in figurative painting? Those uncompromising Bauhausprecepts have proved to be coarse, clumsy tools ill suited toproducing that grace and finesse we associate with figurativepainting. Thus far, the only application of Alber's and Itten'stheories have been in short-lived art fads like Color Fieldpainting and Op Art.I don't want to leave you with the impression that all formal colortheories are useless to the illustrator and painter. Quite the contrary.Unlike Albers and Itten (both of whose theories are never mentioned inserious writings on color), a few well grounded color theorists like FaberBirren, concentrated on practical color effects of use to the artist andcraftsman. Birren's book, Creative Color should be required reading for anyillustrator or painter. The color effects shown in Creative Color are asextraordinary as they are useful. Birren was not the only one to developpractical color theories with the artist in mind. Far ahead of its time wasthe fundamental work from which much practical color theory grows--- M.E.Chevreul's 1839 book, The Principles of Harmony and Contrast ofColor. It was from within this book that the color theories of theImpressionists took root. Although approaching color from a more scientificstandpoint Ogden Rood, Albert Munsell, Wilhelm Ostwald and Denman Ross allproduced work of lasting value to the artist.The Munsell Color System:A decade before the Novembergruppe issued its first artisticmanifesto in the city of Weimar, Albert H. Munsell had developedan elegant system of color notation in the city of Boston. Thatsystem has become the universal standard by which colors arejudged. It should be the standard by which color theories arejudged. Professor Munsell sought to bring color description awayfrom whimsical and confusing names like 'Firecracker Red' and'Chinese Red' into a standardized language by which color could beaccurately specified. He succeeded in doing much more than that.
Munsell separated color into three fundamental components.The first dimension was HUE, "The quality by which we distinguishone color from another, as a red from a yellow, a green, a blue ora purple." He divided the hues into ten equal steps on a band. Theband was bent around to form a hoop---the Color Wheel. In namingthe Hues, he did not use names like Orange. What is commonlycalled orange, for example, he called yellow-red because it is amixture of those two primary hues.The second dimension of color is the easiest one tounderstand. VALUE is "The quality by which we distinguish a lightcolor from a dark one." The scale used to depict value is avertical pole divided into nine increments of neutral grey. A pureblack was added at the bottom and pure white added to the top.CHROMA describes the brilliancy or strength of a specific Hueat any given Value. By extending a scale horizontally from theneutral pole of the Value scale, an easily understood graphicrepresentation of Chroma Strength can be made. Red is at its mostbrilliant (has its highest Chroma Strength) at Value 5 on theneutral pole, it extends on the horizontal scale to its maximumChroma Strength of 10. As the horizontal scale approaches thepole, the colors become more and more grey until, at a ChromaStrength of 1, at become almost a pure grey. Shorthand notationsare used which first list an abbreviation of the Hue followed bythe Value and the Chroma Strength separated by a slash and statednumerically.The scientific principles upon which this system is basedare beyond question. Since the inception of the Munsell Color System,hundreds of new colors and pigments have been introduced. Without exception,all of them conform to the system's principles. That is; no color can behigher in Value than white or below the Value of black. Every new color has aHue name which can be precisely located on the Color Wheel. The variablescale of Chroma Strength can be logically extended to accommodate morebrilliant pigments as they become available. As an example, when ProfessorMunsell designed his system, the Red Hue at Value 5 attained its highestChroma Strength of 10 (the Munsell notation is R 5/10). How can the Munsellsystem accommodate the fluorescent pigments which were undreamt of in thebeginning of the century? Quite easily. The complete collection of HolbeinDesigner Gouache has a fluorescent color called 'Opera." Its Hue is describedas a 7RP, meaning a Red with a cool overtone. The Value is described as 5.5.Because of Opera's fluorescent pigment, its Chroma Strength is a whopping18.5, almost twice that of the original Value 5 Red. Opera's Munsell notationis the rather longish 7RP 5.5/18.5.Earlier, I stated that Professor Munsell achieved a greatdeal more than creating a neat system for cataloguing colors.Residing within his system is a well conceived plan for achievingcolor balance. In comparing the Chroma Strength of Value 5 Redwith the Chroma Strength of its visual complement, Value 5 BlueGreen, we can see that although the Chroma paths touch at theneutral pole, the Chroma Strength of Red extends to twice that ofBlue Green. If we mixed equal parts of Red with Blue Green wewon't get a perfectly neutral grey, but one in which the Redpredominates very decidedly. It would be like a tug-of-war withten men on one side, each representing a step of Chroma, and onlyfive on the other side.
Visualize a bar representing the five stepsof Chroma for Blue Green and the ten steps of Chroma for Red. If thebar rests upon a fulcrum at the neutral point it obviously willnot balance. But if we cut off steps 6, 7, 8, 9 and 10 from theRed side of the bar, it will balance upon the fulcrum, or neutral grey. It isthis simplicity which is characteristic of the Munsell Systemthroughout.Of course, as artists, we don't want to be limited to usinghalf-strength reds in order to balance its complement. We musthave other means at our disposal for attaining balance. If ourpurpose was merely to make a neutral grey, we would use a greateramount of the weaker color. If we wish to produce a balanced andharmonious color design, we can employ a larger area of the weakercolor. If we do this in the correct proportions, relative to theChroma Strength of each color, we will attain balance. It's asthough we used ten blocks of the weaker Blue Green (BG 5/5) tobalance five blocks of Red (R 5/10).For the artist, all of these color theories have a majorshortcoming---they do not deal with artist's paints, especiallyopaque paints. Chevreul's admirable work was created primarily asan aid to the weavers at the Gobelin tapestry works. By layingsmall dots of color next to each other, like stitches of coloredthread, the Pointillists were able to make full use of histheories. On the other hand, mixing pigments on a palette does notproduce the same results. Thus, not all of Chevreul's theorieswere applicable to the pictorial painter.While it lies at the foundation of modern color theory,Munsell's color system does not easily accomodate itself to makingaccurate mixtures with artist's colors. Early in the 20th century,attempts were made to locate the complements of various artist'spigments. The Dudeen Color Triangle was one of those earlyattempts. The Dudeen Color Triangle was not widely acceptedbecause it was, to be frank...poorly designed. The Modular ColorSystem was another system designed to be used by artists. It wasan elegant and useful system designed by Nathaniel Jacobson andintroduced in 1975 by Liquitex. It consisted of a set of acrylicsformulated to have the highest Chroma Strength according to theirparticular Value. A set of Reds would range through the Valuescale from pale pink down to deep maroon. Aside from Red, theModular System included various values of Neutral Grey, Yellow,Green, Purple and Blue, all arranged according to their positionon the Value scale. It was very easy to use. Sadly, it was notgreeted with the success it deserved. Perhaps we artists needpoetic sounding color names, like Cadmium Red Light and LightPortrait Pink rather than R5 and R8.Color mixing was made much more understandable in 1989 withthe publication of Stephen Quiller's Color Choices. Quiller is anaccomplished landscape painter whose work is distinguished by hisexcellent use of color. He mixes color with his brains---and acolor wheel of his own invention. The Quiller Wheel is createdfrom actual artist's paints, not printer's inks. Thus, CadmiumOrange lies opposite Ultramarine Violet rather than the Munsellnotations of a 4 Yellow Red across from a 9 Purple Blue. Althoughthere are variations between manufactures, the true complements ofartist's paints are located on the opposite side of the wheel---nomore color shifts resulting in 'mystery mud'. Quiller's colorwheel is the foundation for an easy-to-understand color course.Landscape painting offers great latitude for demonstratinga variety of spectacular color effects. Landscape offers far greater latitude thanthat is allowed by the subject matter of most illustrations---people and products. Still, Quiller's sensible approach to colormixing makes this book one of the most useful books the painter orillustrator can own.During Hans Holbein's day, color theory was a moot point. Youjust couldn't build much of a theory around a palette with onlyhalf-a-dozen colors. As more colors became available and the useof color became more than merely tinting monochrome pictures,color became the subject of serious study. But that study wasalways done by the practitioners---the artists. Rubens certainlydidn't need a theorist to tell him that blue was calming, red wasenervating and yellow could be cheerful.Over the centuries new colors were slowly added to thepalette. But with the discovery of aniline dyes in the 1850's arainbow of brilliant colors exploded onto the market---colorswhich found their first use in women's fashions. What followed wasa demand for portraits of women wearing those brightly hueddresses. That in turn, created a demand for paint manufacturers toproduce the brighter pigments needed to adequately depict thosenew fashions. It was this bright palette of colors that theImpressionists and the Pre-Raphaelites inherited.Fortunately, techniques for the practical employment of colorin pictorial (not abstract) paintings has been passed on to us bynumerous illustrators and painters. Howard Pyle, Harvey Dunn,Norman Rockwell, Andrew Loomis and Frank Reilly are a few of theworking artists who wrote extensively concerning the effective useof color in painting. Their approach to pictorial painting wasbased on the observations we all make when observing nature. Theybelieved that, if in looking out a window you saw an area of greensituated below a large expanse of blue, you'd be right in assumingthe green represented grass and the blue was that of the sky. Ifyou looked out the same window and saw blue on the bottom andgreen on top, you might suspect that someone had turned your houseupside-down. Despite newer theories, we still hold those truths to be self-evident.
The use of color in pictorial paintings derives from equallysimple observations of nature. The information resulting fromthose observations is known to everyone, not only artists. If youdrew a picture of a person with one too many fingers, the mistakewould be obvious to anyone. Like the odd products of Bauhaus colortheories, drawings of six-fingered people just won't convince mosthumans. Of course there will always be a self-proclaimed elite whocan persuade themselves into seeing The Emperor's New Clothes, butthe rest of us still remain unconvinced and, like Queen Victoria, not amused.I won't try to persuade you that learning to use color iseasy. It's not---but following these suggestions will help keepyour paint clean and bright.First: always keep your brushes clean. Use copious amounts ofwater or solvent to clean your brushes. Dirty brushes (and dirty water or solvent)will turn the brightest color mousy and dull.Second: do not allow the colors on your palette to run intoeach other. Be especially careful that you do not dip into acolor with a brush which contains another color.
Third: Keep your eye on the white paint on your palette. Ifyour brush is contaminated, it will show up here first.Fourth: use your grey card to compare the values of yourcolor mixtures. The grey card helps you to get it right thefirst time, thus avoiding an overworked picture. Properlychosen values are the key to convincing color.Fifth: get a color wheel. It will make order out of thechaos. Grumbacher's Color Computer is handy because it helpsyou to find direct, split and triadic complementaryharmonies. It also shows tints (colors mixed with white),tones (colors mixed with grey), and shades (colors mixed withblack). Far and away the artist's most useful color wheel isthe Quiller Wheel, of which we spoke earlier.Sixth: your palette is one of your most important tools. 90%of an artist's work is done on the palette; tones and colorsare tried out, as well as the thickness or thinness of thepaint. The palette must be kept clean and organized becauseit is where you do your thinking. Your painting can be nobetter than your palette.
PAINTING WITH COLOR: The Short CourseRather than approach color as though it was some sort ofspecial science, let's approach it with the knowledge we'vealready developed as artists.* We know that, to be successful, all pictorial paintingsmust be based upon the structural truths of tone, light andshadow.* Color is not only subject to the same pictorial approachgoverning tone, light and shadow; but also to the effects ofatmosphere and reflected light.Colors and their Characteristics:In order to use color in a pictorial painting we must be ableto carry any color from its lightest value down to completedarkness. Although nature contains far darker darks andlighter lights, Black and White represents the extreme valuerange of opaque paints. Although any color can be lightenedor darkened with white or black, that method seldom producesthe most brilliant (highest Chroma Strength) color for anygiven value.YELLOW:Although you can get a wonderful richness by using Black tolower the value of Purple, using the same Black to lower thevalue of Yellow will produce, not a darker yellow but anOlive Green. However, lowering Yellow's value is easy onceyou understand that many of the earth colors like YellowOchre, Raw Sienna and Burnt Umber are just duller, darkeryellows. Because it is located near the top of the Value scale,the value of Yellow can only be raised with White.PURPLE:The various shades of Purple, or Violet are very important increating the shadow areas of its complement---Yellow. Don'tforget, Alizarin Crimson is a violet, not a red. AlizarinCrimson mixed with Pthalocyanine Blue produces a dark purple.Alizarin Crimson can also be mixed with a small amount ofPthalocyanine Green to produce a cool violet. AlizarinCrimson mixed with a Neutral Grey produces a wide range ofvery useful violet tones.RED:Red can be very difficult to paint with because so many redpigments have cool overtones which aren't apparent until youtry to mix them with other colors. Cadmium Red Medium andCadmium Red Deep turn almost violet when mixed with White.Until you're really familiar with your colors, use CadmiumRed Light for your bright red. When raising the value ofCadmium Red Light, mix a tiny touch of Orange into your whiteto keep it from getting cool. You can also use a premixed "Flesh" insteadof White to lighten your reds. In order to maintain thecharacter of Cadmium Red Light while lowering its value, mixit with Alizarin Crimson tempered with a bit of Burnt Umber.ORANGE:Cadmium Orange is the most useful orange pigment. It can bedarkened with Burnt Sienna and lightened with Flesh or NaplesYellow mixed with White.GREEN:Straight from the tube, Permanent Green Light is the highestchroma green. It's also difficult to use in pictorialpainting. Pthalocyanine Green is very dark but staysbrilliant when brought up in value with White.BLUE:Pthalocyanine Blue has extraordinary tinting strength. It'svery dark as it comes from the tube, but if you needadditional depth to your blue shadows, add Burnt Umber.Pthalocyanine Blue (Winsor & Newton calls theirs Winsor Blue)can be lightened with White. Be careful when mixing it withother colors because a little bit of Pthalocyanine Blue goesa long way.WHITE:Before we go any further, let's discuss the different typesof white paint and their proper uses. Titanium, or PermanentWhite should not be mixed with colors unless you want pale,chalky pastels. Titanium White is useful for creating opaquewhite passages against dark backgrounds. To lighten a colorto a clear and bright tint, it must be mixed with Zinc White.The virtual unavailability of Zinc White in acrylics accountsfor much of the chalkiness seen in pictorial acrylicpaintings when compared to oil and gouache paintings.Although gouache dries to a matte finish, gouache colorstinted with Zinc White show far greater brilliancy and depththan similar tints made with acrylics mixed with Titaniumwhite.BLACK:Just as some white pigments are better mixers, the same canbe said for blacks. Ivory Black is the most transparent ofthe blacks. It darkens colors without overwhelming them.
* Pictures which are built on a few basic values---a light,one or two middle tones, and a dark---seldom go dead.* Large amounts of pure, bright colors won't producebrilliant pictures. A patchwork of colors and values placedagainst each other, compete for attention and the brilliancyof the whole picture becomes reduced.* One primary plus its neighbors, opposed by itscomplementary will never go dead. These colors, supported byneutral and semi-neutral colors, plus black and white, willalways be brilliant...always.* Mix your colors from as few colors as possible. Every coloradded to a mixture reduces its brilliancy.* Large areas of color should be toned down with a complementor grey, in order to give other colors a chance. Remember theaxiom, "The larger the area, the softer the color needs tobe."
The size of a pictureeffects our perception of its color harmony. Bright colorscan be quite pleasant when used in a small color sketch, butwhen we use the same colors in the enlarged version, thecolors appear coarse. The reason lies in the limited numberof color cones in our retina. Because we have only so manycolor cones to register the different color vibrations, oureye tires quickly when scanning large areas of color. Theillustrator whose pictures are photographically reduced forreproduction should understand and exploit this phenomenon.A common cause of dead pictures is too much raw unrelatedcolor rather than not enough. Here are some ways to bring yourpicture back from the dead.* Trying greying all but two colors.* Tie your palette together by mixing a single color into allbut one or two of the other colors.* Create your pictures with simple tone plans consisting of alight tone, one or two middle tones, and a dark tone. Keep itsimple.* Reduce your palette to three or four basic colors fromwhich you'll mix all the rest. This is a lot easier and moreeffective than it sounds.* Don't put bright colors into your shadows.* Put your brightest colors into areas of light, especiallytransitional areas where light meets shadow.* Never use all three primaries in their pure state, in thesame picture. If they are there, that's your source oftrouble. Tone two of the primaries with the third one. Onlyone primary should dominate.* Introducing black, white or grey can help restore thebrilliancy of a picture which is too full of color. You haveto sacrifice color in one place to gain brilliancy elsewhere.* If the picture doesn't respond to any of the above, itmeans that the values are wrong. The overall relationship oflight to shadow has gone wrong. A color cannot be right untilits value is right.I know that much of this goes against what you think comprises goodcolor, but these aren't my rules...these are nature's rules. Stick yourhead out of the window. What do you see? If your studio is in the city,you'll likely see a lot of greys and dull browns. But if your studio isin the country, you'll still be looking at lots of greys and browns. Mostof the permanent things in the landscape; earth, tree trunks and rocksare greyed down colors. Except on golf greens, most grassy areas aregreyed or brownish greens. The bright colors are reserved for rare andfleeting effects; flowers, sunsets, fruits, feathers and the spectacularcolors of autumn. Those bright colors always appear to be at theirmaximum brilliance because they are surrounded and buffered byneutralized tonalities of themselves. Perhaps there's an important lessonawaiting on your next walk through the fields.
Light and Shadow:Outdoor light comes from the sun, not the sky. That's whysunlit highlights are warm, especially as we approach sunset. Theblue of the sky reflects into the shadows causing shadows toappear cooler than the lights.In a studio with a north facing window, the opposite is true.Because there is never any direct warm light from the sun, theblue of the sky reflects its cool light through the window.Because of optical contrast, the shadows appear warm. Your pictures will become livelyand lifelike if you remember to create a warm/cool interplaybetween, and within, your shadows and your lights.Shadows are affected by more than just the warm or coolreflections of the light source, thus we have the axiom, color isrelative to all surrounding influences. What this means is, theareas of a warm yellow cube illuminated by a warm light sourcewill get warmer and more intense, while the color on the coolshadow side will become neutralized. If we place the cube on ablue ground, that color will be reflected up into the shadow. Someof the blue would mix with the yellow causing the shadow to lookgreener than the above example. We call the actual color of anobject its "local" color. Yellow is the local color of the cubesused in our example. This brings us to yet another axiom, localcolor should never completely lose its identity in the shadow.All colors are modified by the conditions surrounding them.Warm light shining on a warm color will give it greater brilliancy. Thesame warm light shining on a cool color will subtract brilliancy.* When struck by light, all colors become a source ofreflected light and will reflect themselves into adjacentshadow areas.* All colors in shadow take on the reflected colors of theadjacent light struck area.* Any two colors become harmonious when one (or both) aremixed with some of the other.* No color can be more intense in shadow than it is in light.* Colors at their greatest intensity should be relegated tothe lights and halftones. In shadow, these colors should begreyed or neutralized---or changed by the influence of theadjacent colors.* The most brilliant colors are usually found in thehalftones.Although the painter's axiom of, greys make the picture hasmuch to recommend it, too many neutral greys can deaden a picture.Overly neutralized greys can be fixed by "spiking" them with thecolor they lean toward. Although this technique is particularlyeffective in the halftones, shadow colors can also be intensifiedto good effect. However, to avoid a gaudy and unconvincingpicture, greater delicacy and taste must be used when spikingshadows.Pre-mixed greys can be very useful to tone down colors without alteringtheir value. If we hold a color, let's say Flame Red, next to ourgrey card we see that it's between a Value 3 and a Value 4---mytube of Flame Red is a Value 3.5. By mixing increasing amounts ofgrey with the color, we can lower its intensity without changingits value. If you paint a square with the toned down mixture andplace a square of the pure color in the middle, the color willappear to be much more brilliant than if just painted on white.Experiment with varying proportions of grey and red. See how easyit is to create the effect of a glowing red area. If you squintyour eyes the differences between the pure color and grey willdisappear. Remember, if you photograph this with black and whitefilm, it will look like the entire square has been painted in aValue 3.5 grey.Colors which are direct complements, meaning they appeardirectly opposite each other on the color wheel, will usuallyneutralize each other if mixed together. The neutral and semi-neutral tones made by mixing direct complements are called visualgreys. One of the best known combinations is Alizarin Crimson andViridian. The chart shows three values of a neutral mix at thetop. The three values in the middle are semi-neutrals favoringAlizarin Crimson. The three values at the bottom are semi-neutralsfavoring Viridian. The same system applies to the other examples.Learning to mix and use visual greys is one of the mostuseful skills a colorist can develop. I spent more than a yearpainting with nothing other than mixtures of Ultramarine and RawSienna. I never exhausted the possibilities offered by those twocolors. Painting with such a limited palette gave me a greaterappreciation of color. Again, this is something which must beexperienced firsthand. Pick two complementary colors and execute apainting. Although you may use a full range of values, you'llprobably not use the full range of color. This execise is a realeye-opener. I recommend it.Like many of the techniques in this chapter, the followingtechnique was first shown to me by Andrew Loomis in his classicbook Creative Illustration. Although the illustrations in Loomis'book may appear dated, his solid advice is timeless. In order togive you the flavor of Loomis' approach, I'll quote him directly."Here is one of the best ways in the world to obtainbrilliancy of color: Keep your color most intense on the edges ofthe lighted areas, where it merges into shadow. This seems to castan aura of additional color over the whole area. Just taking alocal color of the light and rubbing it into a darker color of theshadow (which most of us do, most of the time) produces nobrilliancy. It is apt to be just color in the light, then mud,then reduced color in the shadow. This is one of the least knownand least practiced truths." It also is one of the best and mostuseful pieces of advice I've ever received.That wraps up the our abbreviated introduction to colortheory and basic color principles. I hope that the information inthe beginning of this chapter saves you from wasting time withdead-end color theories that just don't work. Don't expect toabsorb everything after reading it just one time. Let it sink infor a while. Experiment by applying these principles to littlecolor sketches. If you run into any trouble, come back to consultthe "bullet points" in this chapter or Stephen Quiller's ColorChoices and Andrew Loomis' Creative Illustration. If I werelimited to owning just two books about color, these would be the two.

industry_corpus2: Subject Education


text: Robots are going to prepare our foods in the future. In fact, a few companies are already working on robotic kitchens. These 2 robots are capable of preparing you some ramen. One robot takes care of boiling the noodles while the other is in charge of the soup. The robots work together to finish a bowl of noodles in around 1.5 minutes. Pretty cool, don’t you think?

industry_corpus2: Technology & Research


text: Atacama has been designing and manufacturing innovative audiovisual furniture for over 20 years. In the beginning, Atacama's speaker stands redefined the design of loudspeaker supports, setting a standard that had not previously been achieved. The revolutionary approach to product design continued with dedicated audio visual furniture that was aesthetically appealing, but also allowed the equipment it supports to achieve optimum performance. A cornerstone of their design philosophy is to create modular products that evolve with customers' needs. Models such as Equinox and Europa offer this facility, while achieving cutting-edge style and sonic performance far beyond their price tag.

industry_corpus2: Computing & Telecommunications


text: Once we receive your item, we will inspect it and notify you that we have received your returned item. We will immediately notify you on the status of your refund after inspecting the item. If your return is approved, we will initiate a refund to your credit card.

industry_corpus2: Others


text:
Jeff serves as our Lead Pastor, providing oversight and leadership for all Istrouma campuses. He has been on staff since 2011. He and his wife, Nell, married in 1986, have three grown children. They also have two grandchildren (and counting!). The Ginns have served the Lord in a variety of roles across the years including international missionary, church planter, and seminary professor.
Christian has served at Istrouma since 2011. As Worship Pastor, he leads worship at our Sunday morning services and provides leadership in worship at all Istrouma campuses. He and his wife, Brittany, have three children.
Midweek at Istrouma follows a school-year schedule and meets on campus and in homes around the area. See a full list of groups here.
We'd love for you to join us for a worship service or event at Istrouma.


text:
When creating a new user without sending a email notification they do not show up in the list of users. When trying again, it says the email is reserved and to click the confirmation link (but I chose not to send a email confirmation because I am setting up a account manually to then send to the user the credentials direct). It also says it will release the email in 2 days if the confirmation link is not clicked. I also looked in phpadmin database and the user does not show there either.
How can I manually confirm them without sending them a confirmation from the automated system and have them show up in the list of users?
This is a subsite of a multisite install (they do not show in the main multisite user list either).
Support access is already enabled with the WPMUDEV Dashboard fyi if needed.
I can't seem to replicate this on your site.
I just added 2 different users on 2 different subsites, and both were added successfully with the skip notification email checked.
Is this happening on a specific subsite, or all subsites?
entered my username & email address, checked the box that said Add the user without sending an email that requires their confirmation.
Users were added fine both times.


text: Overview There’s so much to know about each student in a class, but how can a teacher possibly keep track of everyone? The “Members” tab allows you to view all members in the Group and access a wide range of member information. This tab is useful for retrieving students’ username and changing passwords, as well as parent codes.


text:
Lenon, S. and O.H. Dryden (2015) Introduction: Interventions, Iterations, Interrogations: Disturbing the (Homo)Nation. In Disrupting Queer Inclusion: Canadian Homonationalisms and the Politics of Belonging. Vancouver: UBC Press.
Lenon, S. (2015) Monogamy, Marriage and Making of Nation. In Disrupting Queer Inclusion: Canadian Homonationalisms and the Politics of Belonging. Vancouver: UBC Press.
Granzow, K., Kirbyson, E, and Lenon, S. (2017) “‘UnSettling’ the Classroom: Meditations on the Necessity of Failure.” A Light on Teaching.
Lenon, S. (2017) Inheritance’s Intimacies and Social Change. Canadian Review of Sociology, 54(3), 366-368.
Funded through a U of L Teaching Development Fund, this project was inspired by efforts in post-secondary institutions to respond to the 94 calls to action of Canada's Truth & Reconciliation Commission. Together with Dr. Kara Granzow (Sociology), we are developing pedagogical practices that seek to unsettle students'/our complicities with settler colonialism, what we are calling an 'unsettling' pedagogical approach. See our blog post on “ReconciliationSyllabus” for some reflections on this: https://reconciliationsyllabus.wordpress.com.


text:
Taking Flight: Thank You Hawthorn Hills Elementary School!
Recently, Education Coordinator Steve Fisher stopped by the Hawthorn Hills Elementary School to accept a generous gift from Diane Poirier's after school gardening class. Diane teaches an after school gardening program for first through third graders. The students raise their own plants and then sell them to the local community. This year they raised just over $200 dollars and decided to donate it all to REGI. We are so honored to receive this gift! As environmental educators we are also so proud of these kids for taking the time to learn more about their environment through gardening! Keep up the good work.
Thanks so much for remembering the native birds we work with. Your support means a lot not only us but to our feathered friends. Some of the birds you have helped through your donation may well be those you see when you are outdoors playing this summer!


text: Flat sandal featuring vegan leather strap construction, faux cork midsole and a soft, molded foot bed to comfortably cradle your foot. Adjustable buckle ensures a great fit. Effortless comfort.


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Tournaments that consist of competing Overwatch teams.
Pages in category "Team Tournaments"
The following 200 pages are in this category, out of 1,372 total.
This page was last edited on 15 November 2015, at 02:35.

industry_corpus2: Gaming


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Here is a list of hotels in Southport. If you can't find a suitable hotel in Southport, or would like to book a hotel outside Southport you can use the Local UK hotels option to find hotels in cities, towns or villages near Southport.
The Norwood Guest House is situated just 10 minutes’ walk from the Grade II listed Southport Pier and Southport beach. Free private parking is available, and guests can be escorted by staff to the best golf courses in the area.
The Penkelie is family-run Victorian guest house, situated just off Southport’s Promenade. The elegant seafront is a 10-minute walk, and Lord Street Boulevard is just 300 metres away.
With over 70 family activities and regular live entertainment, Pontins Southport Holiday Park offers spacious family accommodation with kitchenettes, lounges, and private bathrooms.
Superbly located next to the Marine Lake, Premier Inn Southport Central has good access to rail links and is a short walk to Southport Beach and Pier. Just 1 miles from Southport Rail Station, it includes an on-site restaurant.
With its landscaped gardens and Victorian features, the Prince Of Wales Hotel is a 10-minute walk to Southport Train Station and to the beach. Wi-Fi is free in public areas.
On Southport’s Promenade, the 4-star Ramada Plaza Southport offers stylish rooms and a waterside terrace. The luxury hotel also has a modern fitness suite, free Wi-Fi and a brasserie restaurant.
This historically listed seafront villa is situated in Southport, metres from Marine Lake. Just 15 minutes’ walk from the sandy beach, it offers free on-site parking and free Wi-Fi.
With a modern leisure club and 2 traditional restaurants, Scarisbrick Hotel and Spa also features a cocktail lounge and real ale bar. The hotel is in Southport centre, just off Lord Street Boulevards.
Set in the centre of Southport, Vale House is a refurbished Victorian residence featuring free Wi-Fi, free on-site parking and modern en-suite bedrooms.
This stylish 4-star boutique hotel has a 6th-floor gym, a spa, and a relaxed restaurant with chic surroundings. The Vincent Hotel and Spa is on Southport's main shopping street, 100 metres from Southport Rail Station.
The Southport hotels listed on this page are for your information. UK hotels does not endorse any particular hotels in Southport and is not responsible for the booking and reservations of rooms in the hotels listed. UK hotels will not mediate or get involved in any disputes or problems regarding rooms or services at any of the Southport hotels listed on this page.

industry_corpus2: Hospitality & Catering


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Want to know what you can afford? Want to know what rates and programs are available?
Lower your rate, term, payment and/or obtain cash out.
" There isn't anyone we would have trusted more than Rockland Financial. Juan Diego Currea was so helpful and quickly responded to all questions. I'm a Real Estate Agent working with first time home buyers and he took exceptional care, providing his expertise round the clock. I would highly recommend him. Thank you Juan Diego and everyone in the office for helping my clients become homeowners!"
"Juan-Diego at Rockland was an absolutely stellar person to work with. After a disastrous dealing with Chase Bank, Juan helped us get the loan we were looking for and even better, helped us gain our trust and confidence back in dealing with people from financial system. He is honest, hard-working, communicative and we couldn't recommend him more!"
"His professionalism in doing business was a top notch. His a trustworthy person witch make me feel comfortable though out the process."
"I purchased my first home several years ago and Juan Diego helped with that first purchase. Through the years he has been the one go to person in the mortgage field."
"I have worked with Juan For over 15 years. He is so honest and extremely professional in his field. I recommend my family and friends to him without a doubt."
"Juan Diego has helped me refinance my house in a couple of occasions saving me literally hundreds of dollars . He is extremely professional and very knowledgeable on everything he does, I highly recommend him for all your real state needs."
"I was 100% pleased with the service, my refinancing loan was completed faster than I was expecting, Juan Diego Currea is a professional that i always enjoyed working with him; he had a very good communication with me and made everything clear in advance; so I Will recommend Rockland Financial and Juan to all my friends and Family."
"Juan has helped me over the years with purchases and refinancing and I cannot think of anybody better to recommend than him for your home financing needs. Juan is a true professional who walks you through the process and takes his time explaining the different options that you might have. The true advantage of working with Juan is that he has been doing this for over 20 years and truly understands what it takes to get things done."
"Juan is a true real estate professional. He guided me through a difficult and complicated refinance with skill and patience. I highly recommend using Juan for any of your real estate loan needs."
"Juan Diego helped us with our first loan and refinance our home and brought our payment down $300!! and a great interest rate!! He made the process easy and even accommodated my wife and I by offering a notary to come to our house since we live in two different cities. Juan Diego has been great to work with. I highly recommend him."
"Juan Diego provides a great customer service and goes the extra mile to achieve the results that you are looking for. I highly recommend his services."
Rockland Financial © 2014. All rights reserved.

industry_corpus2: Real Estate & Construction


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We just want to keep it simple and show you wool skirt and related products. So, we have put together a great selection of wool skirt products for you to view. This set of product results features items including: red wool skirt, long wool skirt, black wool skirt, black wool pencil skirt, camel wool skirt.
If you are looking for something different we recommend you view our wool skirts related product page or try using our product search boxes.
copyright © 2006-2019 www.woolskirts.co.uk, All rights reserved.


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Looking for someone who can design a logo for our gym powelifting team. Our team name is "Racked Up Powerlifting" or we would also want to consider a logo design with the name just being "Racked Up" or "Rakd Up"...PLEASE USE ONE OF THE NAMES (with the spellings given) within the logo design you create. We would like to see a Lion incorporated, along with the name, and of course some images of weights, and barbells, we would like to see you utilize the lion and the weights coming to life. For example the Lion with the barbell in it's mouth and the barbell bending from the weight which it is holding, the name could be in some type of stylized font, yet readable,...those are just some ideas we are throwing out there. We don't want the Lion as our mascot, WE want to be the lion' mascots! This logo needs to show the POWER of a true POWERLIFTING TEAM!
2 days are left. We are considering possibly paying for 2 winners. We will be sending comments to some which we would like to see adjustments made on. Thank you for all your entries!!
Please check entry #87 Thanks!
Hi Sr.. Thanks for rate, Check #50 , please.
1. Copy from the link above.
2. Remove the human head and replace it with a lion head.
Not very fond of Theriocephaly ... but thanks anyways for stealing other ideas. We are looking for something more creative! Some people have done just that! Great talent at hand without the use of Theriocephaly . (NOT saying we won't give your Theriocephaly a look, but we rather see something else!).
@aniballzama..... Yes you must use "Racked Up" or "Rackd Up" or "Racked Up Powerlifting" or "Rakd Up Powerlifting". We are a Powerlifting team so it is Ideal that the word "Powerlifting" is in the logo as well! Thank you for the question, any questions are welcome! I am loving many of these entries...they're all looking AMAZING!! KEEP THEM COMING!!
Just wanted to let you guys know we have a gym which we will be representing, so anything with garage gym or any other "gym" name ideas will not go well with our logo. Sorry about that guys. We are just wanting a logo for the team itself because we have already an established logo for the gym which we will be representing. ALSO...PLEASE, PLEASE pay close attention to our NAMES we prefer, and their spellings. PLEASE use the names given in our contest description! Thanks, we are really looking forward to all the entries which are being sent in!
Hi Sr.. Ok we must use "Racked Up" or "Rackd Up"... without "Powerlifting"?

industry_corpus2: Sports


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I’ve followed Rich Hawkins for quite some time now (not in a stalker breaking into his house sniffing his underwear kind of way). I’d know his writing style simply by reading a few sentences. With Maniac Gods, Rich brings us a tale steeped in woe, rain and gore. What’s not to like?!
If you’ve read Hawkins’ Plague trilogy and enjoyed it, Maniac Gods will please you to no end. The world is a soggy, sad, desperate place filled with monsters that exist in both plain sight and between the realms. Those looking for a cheery tale about friendship, bravery and love should really be looking elsewhere. Hawkins is a dark dealer in sorrow and suffering. His characters trudge downtrodden streets looking for answers they’d probably rather not find.
As with Hawkins’ other books, I really enjoyed this grim novella. Maniac Gods is a cosmic horror tale filled with hideous beats, beasts that come screaming and scratching at you from the page, riddled with protrusions and sores. It’s nightmare inducing stuff and this is where Hawkins truly shines. At the centre of this tale, we have protagonist Albi, a man searching for his missing daughter and wife. All the while, Albie is pursued by the mask-wearing Doctor Ridings and his followers. There isn’t much to tell about Albie. He is a shell of a man, forlorn and hopeless, and to be honest, that’s all we really know about him. It’s perhaps the only blight on Maniac Gods that Albie isn’t given a little more depth as the story itself is excellent.
The first half of the story broods and simmers creating a murky atmosphere, whilst the second half has more for those in search of action as Doctor Ridings becomes more prominent. I always look forward to a new Rich Hawkins book. Maniac Gods is exactly the sort of story I’ve come to expect from him. Job done.
Previous Post Book review: Drabbledark – An Anthology of Dark Drabbles.
When a typo creates an image more horrific than that intended – sores filled with feline monstrosities? Truly nightmare-inducing stuff – lol. Another great review, though. I’ll certainly be checking out Mr Hawkins.
Hahaha. I do love a good typo!

industry_corpus2: Literature & Emotions


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Konstantinos Diamantis received the 5-year diploma in electrical and computer engineering from the University of Patras, Greece, in 2009, and the joint M.Sc. degree in biomedical engineering from the University of Patras, Greece, and the National Technical University of Athens (NTUA), Greece, in 2011. He received the Ph.D. degree in medical imaging from Heriot-Watt (HW) University, Edinburgh, UK, in 2016. During his Ph.D. he had the opportunity to visit the Center for Fast Ultrasound Imaging at the Technical University of Denmark for a 6-month period. Since 2016, he has been a post-doctoral research associate, first with the Institute of Biological Chemistry, Biophysics and Bioengineering (IB3), Heriot-Watt University, Edinburgh, UK and currently with the Institute for Digital Communications (IDCOM), The University of Edinburgh, UK. He is investigating advanced signal and image processing techniques for the enhancement of sonar image resolution.
Array signal processing, adaptive beamforming, image analysis, medical ultrasound, and super-resolution imaging.


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In my experience, bliss arrives when we’ve let everything else go, and, unplanned, let it saunter in.
In Madagascar, arriving in a tiny village on the coast, far from where I’d planned to end up, alone, and with no expectations. And a new year’s party beyond any I could have imagined.
An instant on the dancefloor, all thought silent.
Eating a pizza after about three weeks of living on white bread and peanut butter, with the occasional banana as a treat, before deciding enough is enough, today we eat pizza!
A moment in meditation, any attempt to recapture futile.
Deep in code, mapping the paths outside of time.
Arriving at a festival after three days and two nights hitching, including one unpleasant night spent in a police station, sleepless, and collapsing on the field, just the bliss of lying on a field with nowhere to go and nothing to do.
Floating in a lake, lying on my back, looking up at the clouds.
Working in Philippi till about 8pm, I’d emptied everything on my “must do today” list for the first time in ages (mainly by shifting a whole lot to “high priority”), and came home. Deciding to dive into the next set of things to do, I made myself a smoothie.
Sometimes it turns out wonderfully, and sometimes, in the words of a neighbour, “vile, absolutely vile”.
I’ve been experimenting with lucuma powder since I got some last week. This weekend I even went chocolate free and blissed out on lucuma powder smoothies. Lucuma tastes like caramel custard – absolutely divine.
Today, however, it turned out to be, much as I don’t like to use the phrase, the best smoothie ever.
There you have it, the best smoothie ever. How much of each? Sadly you’ll have to figure it out on your own – if you get it, please let me know. Trying to recapture it is futile. It’s quite possible I’ll make a “vile, absolutely vile” smoothie with the exact ingredients above. While I’m more likely to make some great tasting smoothies with the list above, bliss, that unexpected shock, comes and goes like a butterfly, never to reappear in quite the same way.
Warning – if the smoothie is green, you’ve gone a little heavy on the spirulina. It won’t taste like the best smoothie ever.


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Defensive line: LDE Arik Armstead, DT DeForest Buckner, DT Quinton Dial, RDE Aaron Lynch.
Notes: Armstead is bigger than a traditional 4-3 defensive end, but he's got enough movement skills to play on the edge of the defense. He and Buckner could pair up at defensive tackle in nickel and dime defense just as they did earlier this year. The alignment would make Tank Carradine a 4-3 defensive end, which is the position he played at Florida State and the one at which he'd be most comfortable. Eli Harold also would go from 3-4 outside linebacker to 4-3 defensive end as would Ronald Blair.
Notes: Brooks played inside linebacker in college (watch this and this), entered the NFL with the Bengals as an inside linebacker and dabbled at the position with the 49ers, notably in goal-line situations against the Panthers in the 2013 playoffs. In this scenario, he'd be the team's strong-side or SAM linebacker (and probably would have to lose weight to do so, something he hasn't done all that well in the past). Bowman would be the traditional middle linebacker, a la Luke Kuechly in Carolina. The leap of faith here is that Bowman will return to full strength after his second major lower-leg injury in 2 1/2 years. Who would play the 'Will,' weak-side position, which usually calls for a lighter, more athletic linebacker who can run to the ball and make plays in space? The 49ers could re-sign Ray-Ray Armstrong, who is scheduled for free agency in March. Or they could draft one. Michigan's Jabrill Peppers likely will be viewed as a safety at the NFL level because of his smaller stature (He'll likely measure 5-11, 210 pounds or so at the combine), but the Wolverines are using the aggressive, playmaker as a linebacker this season. The 49ers also could convert one of their bigger-bodied safeties (see below).
Notes: The 49ers should not have to worry about the spot for years. Tramaine Brock, Jimmie Ward, Rashard Robinson, Keith Reaser, Dontae Johnson, Will Redmond and JaCorey Shepherd are signed for next season.
Notes: The question at this position is whether Ward, perhaps the team's most gifted defensive player, is best at cornerback or free safety. He started at cornerback Sunday and showed off his play-making ability against the Cardinals with four pass break-ups and seven tackles. But would that ability be better utilized at safety? And would pairing Ward with his old high-school teammate, Jaquiski Tartt, give the 49ers a faster, harder-hitting and more dynamic duo than they have now? Eric Reid, a starter since his rookie season in 2013, has played along the line of scrimmage more this season than he has in the past. Could he convert into a Will linebacker the way Thomas Davis did with the Panthers? Or maybe the safety pairing should be Ward and Reid and the team should think about using Tartt as its 'Will' linebacker.


text: I know most of us are into handbags and accessories. Here are some of my current favorites handbags and bracelets/ necklace. Don't forget to order your handmade brackets from me!!!!


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The League of Minnesota Cities recently announced that Charity Duran, a member of the Edge Christian Worship Center located in Brooklyn Park, MN, is one of three winners of a League sponsored state-wide essay contest. Charity, a nine-year-old homeschool student, wrote on the assigned topic of what she would do if she were the mayor for a day.
Taking inspiration from the National Park Service’s Junior Ranger program, Charity thought it would be good if Brooklyn Park, MN had a similar program which included age-appropriate activity books introducing students to the various departments of local government. Her essay was one of more than six-hundred submitted to the contest.
Charity was recently interviewed for an upcoming city newsletter and for a TV news spot. In addition, she will be honored in an upcoming City Council meeting, and meet one-on-one with the mayor. Charity will also receive $100 and a plaque from the League of Minnesota Cities. Charity plays the violin with the Greater Twin Cities Youth Symphony, sings with the Music Association of Minnetonka, and is part of the Southview Pathfinder Club.
Minnesota Conference Women’s Ministry in Minnesota took a group of volunteers to Lincoln, Nebraska to participate in their “God in Shoes” outreach event on September, 2017. We then hosted our first event in the Twin Cities area on January, 2016. Alice was one of the volunteers for both events. She is a nurse in a psychiatric ward. “God in Shoes” is a weeklong outreach event culminating in a spa day specifically for the women in a community. The spa day offers manicures, pedicures, facials and a brand new pair of shoes to each participant.
“I am so thankful that I was able to participate in the “God in Shoes” events. I have had a change of heart by participating in “God in Shoes”. First, from the time we came back from Lincoln, I have been able to use the “God in Shoes” experience with my patients at work. Whenever my client is having a hard day, anxious, depressed and can’t settle down, I offer them a foot soak in warm water; some agree while some refuse, and that is okay. I normally keep a small bag of Epsom salt in my locker at work. It is amazing how this exercise just calms them down and helps them to comply with their care plan.
At our recent visit to Alexandra House in Blaine, Minnesota, I did not think I would meet or see anybody that I knew despite the warning from the staff that we may recognize some familiar faces. As I passed by the lounge to go to the children’s room, I spotted a lady that frequents our psych unit as a patient. I work with her when she in our hospital. What this taught me is to be of service to anyone around me. Sometimes we are so busy and focused on our own issues. “God in Shoes” has opened my eyes and my heart to be aware of people around me and their needs. It could be my own family members, neighbors, friends, co-workers that might just need a smile, a hand, a listening ear or a prayer.
I have also learned how teamwork can make things happen. It was amazing to see how the rooms were turned in to such a beautiful and peaceful environment within a short time. The smiles and coordination were wonderful. I thought to myself, I wouldn’t have done this if I were by myself, nor would I have even thought of it. I really feel blessed to be part of this group.
My prayer everyday is for God to help me, and each one of the ladies involved in “God in Shoes” to be able to put a smile on somebody’s face every day.
Working with people who are anxious, depressed, abused, etc. I want to be able to be of service. At least if I am able to soak someone’s feet and provide some foot message to them, I want to be able to. I want to go an extra mile from just being a bedside nurse to a nurse of service. I want to make “God in Shoes” a way of life, a life of service everyday.
“Finding God’s Calling” Weekend, April 8-9, 2016 at Southview ChristianSchool, Burnsville, MN: a weekend for every woman to learn how God has called her, gifted her and what to do about it.
Sunday, February 28th, 30 guests arrived on Maplewood’s campus to present for our annual Career Day. Throughout the day, students visited multiple stations on campus that each taught them valuable information on how to find a career that best fits them. Stations included a Career Aptitude Test, how to research careers to learn about job growth and needed education, and how to write a resume. The favorite of the stations was the Career Fair. Maplewood’s gym was filled with tables, each with a representative from a different career – Anesthesiology, Pastoral Ministry, Mechanical Engineering, Air Force, Fire Fighting and many more. Students got to talk to each of the guests, ask questions, and discover what it would be like to have a job like theirs. If you would like to be a part of next year’s Career Day, please contact Laura Cummings at lcummings@maplewoodacademy.org.
In February 2016, our teams traveled to the Mid-America Union’s Basketball Tournament held at Union College. We are proud of our teams and how hard they worked. It was great to see them interacting with other Adventist youth and having a great time.
March 3rd, a team of Maplewood students, staff, and friends will travel to Belize to continue building a new school in Ladyville, Belize, as they have outgrown their old facility. Maplewood has been going to Belize for a few years now, and they are excited to work for the people of Ladyville again this year. Adventist education in Belize is well respected and the majority of the students are non-Adventist children. This school’s enrollment steadily increases year after year. The school is raising its own funds to build their new facility, and so volunteer groups from several Adventist academies, working with WeCare Missions, have been involved in the past few years.
While our group is in Belize we will carry blocks, mix concrete, lay block to build walls, and perform other building tasks. But the job our volunteers enjoy the most is getting to interact with the children. Watching our teenagers play games and give horseback rides to the little kids is a joy and blessing. This year we are reaching out to the teenagers too as we will conduct a week of prayer at the Adventist academy. Our goal is to be God’s hands and feet, to serve Him and the great people in Belize.
Thank you for your prayers and support as we embark on this mission trip to Belize. We value the help that many of you give to our students here at Maplewood.
National Honor Society students have been taking turns serving at the Salvation Army Harbor Light Soup Kitchen in Minneapolis. Over 1,000 meals are served each day to the homeless of the Twin Cities at this location. It has been an eye-opening experience for our students and a great way to serve as the hands and feet of Christ.


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Very recently did Bajaj launch a streetfighter version of their premium motorcycle Pulsar 220 in India. It carried the same styling of the best-looking erstwhile Pulsar 200 albeit with a bigger and more powerful heart. It lacked the projectors of the faired Pulsar 220 and came loaded with 35w headlamp in a bikini fairing similar to other Pulsars.
It was kept at a lower price tag to lure more people to graduate to higher capacity biking. However, this step from Bajaj, although luring, did not pay off as much as they would have liked. According to some conversations I had with a few Bajaj dealers, all of them reported a ‘not-so-healthy’ sales report of this bike. They all said that people of this segment prefer paying 3k more to buy the Pulsar 220 DTSi F (faired).
Of late it was brought to my notice the absence of this bike from showrooms and even the roads. Now when I enquired about it, I am told that Bajaj has stopped production of this variant and its no more available for sale.
When I checked Bajaj’s official website, they have removed any details about this bike as well. Well, it has been known that Bajaj stops their products abruptly, may be because of the everyday changing strategies within the company. But I feel this might be the most short-lived Bajaj product till date. Now with the coming of the next generation Pulsar 200 NS all this does seem obvious and we might hear more similar kind of news floating around the air.
Till then let’s wait and watch what exactly is Bajaj up to!

industry_corpus2: Automobiles


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