In Medias Res Fall 2007 1 FEATURE STORIES
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OVFF Program Book Final
October 23-25, 2020 GUEST OF HONOR MISBEHAVIN' MAIDENS TOASTMASTER TOM SMITH HONORED LISTENERS DENNIS, SHARON, & KAITLIN PALMER INTERFILK GUEST JAMES MAHFFEY THE BROUGHT TO YOU BY AND STAFF WITH THE HELP THE OVFF COMMITTEE OF THE FRIENDS PEGASUS Mary Bertke OF OVFF COMMITTEE Linnea Davis Halle Snyder Alan Dormire Chair Emily Vazquez- Mark Freeman Lorene Andrews Erica Neely, Doug Cottrill Coulson Lisa Garrison Nancy Graf Evangelista Lori Coulson Elizabeth Gabrielle Gold Gary Hartman Steve Macdonald Leslie Davis Wilson Jade Ragsdale Judi Miller Co-Evangelista Trace Seamus Ragsdale Mary Frost-Pierson Trace Hagemann Hagemann Lyn Spring J. Elaine Richards Steve Shortino Kathy Hamilton David Tucker Jeff Tolliver Rob Wynne Jim Hayter Sally Kobee Steve Macdonald BJ Mattson Robin Nakkula Erica Neely Mark Peters Kat Sharp Roberta Slocumb OVFF 36 page 1 Chairman’s Welcome Welcome to NoVFF 2020. This has You are among friends. Enjoy! Welcome from been a very trying year for everyone on planet Lin Davis Earth. It seems only fair that by holding our Virtual NoVFF Con we allow Filkers from around the world to attend. Since you cannot come to us, we are sending NoVFF 2020 to you. ConChair OVFF 36 Just sit back at your favorite electronic device and link to us. There will be a wonderful Pegasus Concert, workshops and other Filk delights. You will get a chance to see the guests for 2021. They have agreed to attend and play for all in 2021. Please pay attention to our logo for this year. Created by Kat Sharp, it shows what we want to do with the COVID 19 virus. -
The Evolution of Lisp
1 The Evolution of Lisp Guy L. Steele Jr. Richard P. Gabriel Thinking Machines Corporation Lucid, Inc. 245 First Street 707 Laurel Street Cambridge, Massachusetts 02142 Menlo Park, California 94025 Phone: (617) 234-2860 Phone: (415) 329-8400 FAX: (617) 243-4444 FAX: (415) 329-8480 E-mail: [email protected] E-mail: [email protected] Abstract Lisp is the world’s greatest programming language—or so its proponents think. The structure of Lisp makes it easy to extend the language or even to implement entirely new dialects without starting from scratch. Overall, the evolution of Lisp has been guided more by institutional rivalry, one-upsmanship, and the glee born of technical cleverness that is characteristic of the “hacker culture” than by sober assessments of technical requirements. Nevertheless this process has eventually produced both an industrial- strength programming language, messy but powerful, and a technically pure dialect, small but powerful, that is suitable for use by programming-language theoreticians. We pick up where McCarthy’s paper in the first HOPL conference left off. We trace the development chronologically from the era of the PDP-6, through the heyday of Interlisp and MacLisp, past the ascension and decline of special purpose Lisp machines, to the present era of standardization activities. We then examine the technical evolution of a few representative language features, including both some notable successes and some notable failures, that illuminate design issues that distinguish Lisp from other programming languages. We also discuss the use of Lisp as a laboratory for designing other programming languages. We conclude with some reflections on the forces that have driven the evolution of Lisp. -
Feminism & Philosophy Vol.5 No.1
APA Newsletters Volume 05, Number 1 Fall 2005 NEWSLETTER ON FEMINISM AND PHILOSOPHY FROM THE EDITOR, SALLY J. SCHOLZ NEWS FROM THE COMMITTEE ON THE STATUS OF WOMEN, ROSEMARIE TONG ARTICLES MARILYN FISCHER “Feminism and the Art of Interpretation: Or, Reading the First Wave to Think about the Second and Third Waves” JENNIFER PURVIS “A ‘Time’ for Change: Negotiating the Space of a Third Wave Political Moment” LAURIE CALHOUN “Feminism is a Humanism” LOUISE ANTONY “When is Philosophy Feminist?” ANN FERGUSON “Is Feminist Philosophy Still Philosophy?” OFELIA SCHUTTE “Feminist Ethics and Transnational Injustice: Two Methodological Suggestions” JEFFREY A. GAUTHIER “Feminism and Philosophy: Getting It and Getting It Right” SARA BEARDSWORTH “A French Feminism” © 2005 by The American Philosophical Association ISSN: 1067-9464 BOOK REVIEWS Robin Fiore and Hilde Lindemann Nelson: Recognition, Responsibility, and Rights: Feminist Ethics and Social Theory REVIEWED BY CHRISTINE M. KOGGEL Diana Tietjens Meyers: Being Yourself: Essays on Identity, Action, and Social Life REVIEWED BY CHERYL L. HUGHES Beth Kiyoko Jamieson: Real Choices: Feminism, Freedom, and the Limits of the Law REVIEWED BY ZAHRA MEGHANI Alan Soble: The Philosophy of Sex: Contemporary Readings REVIEWED BY KATHRYN J. NORLOCK Penny Florence: Sexed Universals in Contemporary Art REVIEWED BY TANYA M. LOUGHEAD CONTRIBUTORS ANNOUNCEMENTS APA NEWSLETTER ON Feminism and Philosophy Sally J. Scholz, Editor Fall 2005 Volume 05, Number 1 objective claims, Beardsworth demonstrates Kristeva’s ROM THE DITOR “maternal feminine” as “an experience that binds experience F E to experience” and refuses to be “turned into an abstraction.” Both reconfigure the ground of moral theory by highlighting the cultural bias or particularity encompassed in claims of Feminism, like philosophy, can be done in a variety of different objectivity or universality. -
The-DIY-Musician's-Starter-Guide.Pdf
Table of Contents Introduction 1 - 2 Music Copyright Basics 3 Compositions vs. Sound Recordings 4 - 5 Being Your Own Record Label 6 Being Your Own Music Publisher 7 Wearing Multiple Hats: Being Four Income Participants 8 - 12 Asserting Your Rights and Collecting Your Royalties 13 - 18 Conclusion 19 Legal Notice: This guide is solely for general informational purposes and does not constitute legal or other professional advice. © 2017 TuneRegistry, LLC. All Rights Reserved. 0 Introduction A DIY musician is a musician who takes a “Do-It-Yourself” approach to building a music career. That is, a DIY musician must literally do everything themselves. A DIY musician might have a small network of friends, family, collaborators, and acquaintances that assists them with tasks from time to time. However, virtually all decisions, all failures, and all successes are a result of the DIY musician’s capabilities and efforts. Being a DIY musician can be overwhelming. A DIY musician has a lot on their plate including: writing, recording, promoting, releasing, and monetizing new music; planning, marketing, and producing tours; reaching, building, and engaging a fan base; managing social media; securing publicity; and so much more. A DIY musician may hire a manager and/or attorney to assist them with their career, but they are not signed to or backed by a record label or a music publishing company. Just three decades ago it was virtually impossible for the average DIY musician to get their music widely distributed without the help of a record company. While some DIY musicians were successful in releasing music locally and developing local fan bases, widespread distribution and reach was hard to achieve. -
TCM Report, Summer
Board of Directors Corporate Donors Contributing Members John William Poduska. Sr. Benefactor-$lO.ooo or more Pathway Design. Inc. Patron-$SOO or more Chairman and CEO AFIPS. Inc." PC Magazine Anonymous. Ray Duncan. Tom Eggers. Belmont Computer. Inc. American Exr.ress Foundation Peat. Marwick. Mitchell & Co. Alan E. Frisbie. Tom and Rosemarie American Te ephone & Telegraph Co." Pell. Rudman. Inc. Hall. Andrew Lavien. Nicholas and Gwen Bell. President Apollo Computer. Inc." Pencept. Inc. Nancy Petti nella. Paul R. Pierce. The Computer Museum Bank of America" Polese-Clancy. Inc. Jonathan Rotenberg. Oliver and Kitty Erich Bloch The Boston Globe" Price Waterhouse Selfridge. J. Michael Storie. Bob National Science Foundation ComputerLand" Project Software & Development. Inc. Whelan. Leo R. Yochim Control Data Corporation" Shawmut Corporation David Donaldson Data General Corporation" Standard Oil Corporation Sponsor-$250 Ropes and Gray Digital Equipment Corporation" Teradyne Hewlett-Packard Warner & Stackpole Isaac Auerbach. G. C . Beldon. Jr .. Sydney Fernbach Philip D. Brooke. Richard J. Clayton. Computer Consultant International Data Group" XRE Corporation International Business Machines. Inc." " Contributed to the Capital Campaign Richard Corben. Howard E. Cox. Jr .. C. Lester Hogan The MITRE Corporation" Lucien and Catherine Dimino. Philip H. Fairchild Camera and Instrument NEC Corporation" Darn. Dan L. Eisner. Bob O. Evans. Corporation Raytheon Company Branko Gerovac. Dr. Roberto Guatelli. Sanders Associates M. Ernest Huber. Lawrence J. Kilgallen. Arthur Humphreys The Travelers Companies Core Members Martin Kirkpatrick. Marian Kowalski. ICL Wang Laboratories. Inc." Raymond Kurzweil. Michael Levitt. Carl Theodore G. Johnson Harlan E. and Lois Anderson Machover. Julius Marcus. Joe W .. Charles and Constance Bachman Matthews. Tron McConnell. -
Bulletin of the Santayana No
Overheard in Seville bulletin of the Santayana No. 1 Fall 1983 OVERHEARD IN SEVILLE Bulletin of the Santayana Society NO. 1 FALL 1983 CONTENTS Table of Contents i Illustration ......... ... .......... ii Santayana^s Idea of the Tragic . .......... 1 On Grue and Bleen . 12 Announcement of Annual Meeting ........ 17 Bibliographic Update . 18 The Santayana Edition . 20 Edited for the Santayana Society by Angus Kerr-Lawson, Department of Pure Mathematics, University of Waterloo, Waterloo, Ontario, Canada N2L-3T2, and by Herman J. Saatkamp Jr., Department of Philosophy, University of Tampa, Tampa, Florida 33606. All communications should be sent to one of the editors. The bulletin will appear annually; it is formatted and composed for typesetting with Waterloo Script, and is printed by Graphic Services, University of Waterloo. 226 Ethicei Pan IV* punk, qui alter! injuriam fecit, eandcm civi indignari non dko, quia non Odio perdta ad perdendum civem, fed pietate mota ewi- dem punit. PROPOSITIO LH. Acquiefcentia in fe ipfo ex Ratione ortri pteft, et w fokf m- quicfcentia, qua ex Ratione oritur, fumma eft, qua pteft dari. DIMOMITIATIO, Acquiefcentia in fe ipfo eft Lsetitia orta ex eo, quod homo fe ipfum fuamque agendi potentiam contemplatur (per %$. JfeSt. Defn.). At vera hominis agendi potentia feu virtua eft ipia Ratio (per Prop. 3. p. $.), quam homo dare et diftinde contemplatur (per Prop. 40. et 43. p. a.); Ergo Acquiefcentia in fe ipfo ex Ratione oritur. Deinde nihil homo, dum fe ipfum contemplatur, clave et diftin&e, five adequate percipit, nifi ea, qua; ex ipfiui agendi po tentia fequuntur (per Befin. a. p. 3.), hoc eft (per Prof. -
From Cyber-Utopia to Cyber-War. Advocacy Coalitions and the Normative Change in Cyberspace
From Cyber-Utopia to Cyber-War. Normative Change in Cyberspace. Dissertation zur Erlangung des akademischen Grades doctor philosophiae (Dr. phil.) vorgelegt dem Rat der Fakultät für Sozial- und Verhaltenswissenschaften der Friedrich- Schiller-Universität Jena von Matthias Schulze (M.A.) geboren am 28.03.1986 in Weimar 15.03.2017 1 Gutachter 1. Prof. Dr. Rafael Biermann (Friedrich-Schiller Universität Jena) 2. Dr. Myriam Dunn Cavelty (ETH Zürich) 3. Prof. Dr. Georg Ruhrmann (Friedrich-Schiller Universität Jena) Tag der mündlichen Prüfung: 08.08.2017 2 Copyright © 2018 by Matthias Schulze. Some Rights reserved. This work is licensed under the Creative Commons Attribution 4.0 International License (CC BY 4.0). To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. 3 Table of Contents Table of Contents 4 Acknowledgement 7 Abstract 10 List of Abbreviations 11 List of Tables and Graphics 13 1. Introduction 15 1.1 Puzzle & Research Question 18 1.2 Literature Review 22 1.3 Contributions of the Study 27 1.4 Case Selection: The United States 30 1.5 Structure and Logic of the Argument 32 2. Explaining Normative Change 38 2.1 Norms and Theories of Normative Change 39 2.1.1 Norm Diffusion and Norm Entrepreneurs 41 2.1.2 Critique of Deontological Norms 42 2.1.3 Critique of Diffusion Models 44 2.2 Paradigms and Norm-Change 47 2.2.1 Discursive Struggles between Paradigms 53 2.2.2 Framing 59 2.2.3 Degrees of Change 63 2.2.4 Explaining Change 67 -
Robert Alan Saunders
SMITHSONIAN INSTITUTION LEMELSON CENTER FOR THE STUDY OF INVENTION AND INNOVATION Robert Alan Saunders Transcript of an interview conducted by Christopher Weaver at National Museum of American History Washington, D.C., USA on 29 November 2018 with subsequent additions and corrections For additional information, contact the Archives Center at 202-633-3270 or [email protected] All uses of this manuscript are covered by an agreement between the Smithsonian Institution and Robert Alan Saunders dated November 29, 2018. For additional information about rights and reproductions, please contact: Archives Center National Museum of American History Smithsonian Institution MRC 601 P.O. Box 37012 Washington, D.C. 20013-7012 Phone: 202-633-3270 TDD: 202-357-1729 Email: [email protected] Web: http://americanhistory.si.edu/archives/rights-and-reproductions Preferred citation: Robert Alan Saunders, “Interview with Robert Alan Saunders,” conducted by Christopher Weaver, November 29, 2018, Video Game Pioneers Oral History Collection, Archives Center, National Museum of American History, Smithsonian Institution, Washington, DC. Acknowledgement: The Smithsonian’s Lemelson Center for the Study of Invention and Innovation gratefully acknowledges financial support from the Entertainment Software Association and Coastal Bridge Advisors for this oral history project. For additional information, contact the Archives Center at 202-633-3270 or [email protected] Abstract Robert Saunders begins discussing his early family life, education, and early exposure to electrical engineering. He next recounts his time at MIT, recalling members of the Tech Model Railroad Club and his work with the TX-0 and PDP-1 computers. Saunders discusses the contributions of Spacewar! team members to the project and his development of the original PDP-1 game controllers. -
Nightlight: Tradition and Change in a Local Music Scene
NIGHTLIGHT: TRADITION AND CHANGE IN A LOCAL MUSIC SCENE Aaron Smithers A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Curriculum of Folklore. Chapel Hill 2018 Approved by: Glenn Hinson Patricia Sawin Michael Palm ©2018 Aaron Smithers ALL RIGHTS RESERVED ii ABSTRACT Aaron Smithers: Nightlight: Tradition and Change in a Local Music Scene (Under the direction of Glenn Hinson) This thesis considers how tradition—as a dynamic process—is crucial to the development, maintenance, and dissolution of the complex networks of relations that make up local music communities. Using the concept of “scene” as a frame, this ethnographic project engages with participants in a contemporary music scene shaped by a tradition of experimentation that embraces discontinuity and celebrates change. This tradition is learned and communicated through performance and social interaction between participants connected through the Nightlight—a music venue in Chapel Hill, North Carolina. iii ACKNOWLEDGEMENTS Any merit of this ethnography reflects the commitment of a broad community of dedicated individuals who willingly contributed their time, thoughts, voices, and support to make this project complete. I am most grateful to my collaborators and consultants, Michele Arazano, Robert Biggers, Dave Cantwell, Grayson Currin, Lauren Ford, Anne Gomez, David Harper, Chuck Johnson, Kelly Kress, Ryan Martin, Alexis Mastromichalis, Heather McEntire, Mike Nutt, Katie O’Neil, “Crowmeat” Bob Pence, Charlie St. Clair, and Isaac Trogden, as well as all the other musicians, employees, artists, and compatriots of Nightlight whose combined efforts create the unique community that define a scene. -
Errol Dunkley Please Stop Your Lying / Feel So Fine Mp3, Flac, Wma
Errol Dunkley Please Stop Your Lying / Feel So Fine mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Reggae Album: Please Stop Your Lying / Feel So Fine Country: UK Released: 1968 Style: Rocksteady MP3 version RAR size: 1656 mb FLAC version RAR size: 1930 mb WMA version RAR size: 1972 mb Rating: 4.6 Votes: 714 Other Formats: AC3 AU AUD XM MIDI MP4 VOX Tracklist A –Errol Dunkley Please Stop Your Lying B –Tommy McCook Feel So Fine Notes Side B is credited to Errol Dunkley on the label but it is in fact an instrumental by Tommy McCook & The Supersonics. Other versions Category Artist Title (Format) Label Category Country Year Errol Dunkley With Lynn Errol Dunkley Taitt Band / Tommy With Lynn Taitt Amalgamated none McCook Band - Please none Jamaica 1967 Band / Tommy Records Stop Your Lying / It's So McCook Band Fine (7", Single) Errol Dunkley With Lynn Errol Dunkley Taitt Band / Tommy With Lynn Taitt Amalgamated none McCook Band - Please none Jamaica 1967 Band / Tommy Records Stop Your Lying / Feel So McCook Band Fine (7", Single) Related Music albums to Please Stop Your Lying / Feel So Fine by Errol Dunkley Errol Dunkley - Please Stop Your Lying Phyllis Dillon - Don't Stay Away / Picture On The Wall Errol Dunkley - Raggamuffin Gone A Jail Errol Dunkley / Fe-Me-Time All Stars - Black Cinderella Errol Dunkley - Love Like This Alton Ellis & Tommy McCook & The Supersonics / Tommy McCook & The Supersonics - What Does It Take To Win Your Love / Reggay Meringue Errol Dunkley - Darling Ooh! Errol Dunkley - Hard Times In The Ghetto Errol Dunkley - Happiness Forgets Errol Dunkley - Baby I Love You. -
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry
New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel B.S. Physics Hobart and William Smith Colleges, 2004 SUBMITTED TO THE DEPARTMENT OF COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2008 © 2008 Evan Landon Wendel. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: _______________________________________________________ Program in Comparative Media Studies May 9, 2008 Certified By: _____________________________________________________________ William Uricchio Professor of Comparative Media Studies Co-Director, Comparative Media Studies Thesis Supervisor Accepted By: _____________________________________________________________ Henry Jenkins Peter de Florez Professor of Humanities Professor of Comparative Media Studies and Literature Co-Director, Comparative Media Studies 2 3 New Potentials for “Independent” Music Social Networks, Old and New, and the Ongoing Struggles to Reshape the Music Industry by Evan Landon Wendel Submitted to the Department of Comparative Media Studies on May 9, 2008 in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post- punk era as an offline social network. -
Music 10378 Songs, 32.6 Days, 109.89 GB
Page 1 of 297 Music 10378 songs, 32.6 days, 109.89 GB Name Time Album Artist 1 Ma voie lactée 3:12 À ta merci Fishbach 2 Y crois-tu 3:59 À ta merci Fishbach 3 Éternité 3:01 À ta merci Fishbach 4 Un beau langage 3:45 À ta merci Fishbach 5 Un autre que moi 3:04 À ta merci Fishbach 6 Feu 3:36 À ta merci Fishbach 7 On me dit tu 3:40 À ta merci Fishbach 8 Invisible désintégration de l'univers 3:50 À ta merci Fishbach 9 Le château 3:48 À ta merci Fishbach 10 Mortel 3:57 À ta merci Fishbach 11 Le meilleur de la fête 3:33 À ta merci Fishbach 12 À ta merci 2:48 À ta merci Fishbach 13 ’¡¡ÒàËÇèÒ 3:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 14 ’¡¢ÁÔé’ 2:29 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 15 ’¡à¢Ò 1:33 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 16 ¢’ÁàªÕ§ÁÒ 1:36 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 17 à¨éÒ’¡¢Ø’·Í§ 2:07 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 18 ’¡àÍÕé§ 2:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 19 ’¡¡ÒàËÇèÒ 4:00 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 20 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:49 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 21 áÁèËÁéÒ¡ÅèÍÁÅÙ¡ 6:23 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 22 ¡ÅèÍÁÅÙ¡â€ÃÒª 1:58 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 23 ¡ÅèÍÁÅÙ¡ÅéÒ’’Ò 2:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 24 Ë’èÍäÁé 3:21 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 25 ÅÙ¡’éÍÂã’ÍÙè 3:55 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 26 ’¡¡ÒàËÇèÒ 2:10 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’… 27 ÃÒËÙ≤˨ђ·Ãì 5:24 à≤ŧ¡ÅèÍÁÅÙ¡ªÒÇÊÂÒÁ ʶҺђÇÔ·ÂÒÈÒʵÃì¡ÒÃàÃÕÂ’…