Cedarville University

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    Will Congress, President Strike Border Deal?: A Conversation with Mark Caleb Smith

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    Gift of Grace

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    I am submitting a sculpture entitled “Gift of Grace.” It is shaped like a cinder block, made out of a light colored wood, whose dimensions are 13” x 13” x 26,” exactly double the size of an actual cinder block. The 8 inner corners are rounded, so that there are no sharp crevices. The wood is not stained, but is finished with polyurethane. It is incredibly smooth and sanded, without a singular sharp edge. It was created as a narrative piece, as it reflects a personal story of the Lord’s power. Whilst on a mission trip with my church, I was struck on the head with a cinder block from two stories above me, and escaped unscathed besides a few stitches, and did not experience any pain from this injury. At a time in my life when I was doubting, the Lord revealed to me his faithfulness in a very physical way. And thus I created this physical, larger-than-life testament to his power and providence. The Lord took this rough building material (a block used to build homes) and perfected it for his purposes: causing me to grow in my love and knowledge of him. Therefore, “Gift of Grace,” though large and heavy, is smoothed and finished so as to reflect how carefully crafted the plans of the Lord are. Though the sufferings the Lord places in our path may first appear to be destructive when they fall on us, they are truly beautiful, intentional, and worthy of gratitude as they sanctify us

    Sing to Him a New Song: Early Christians in the Midst of Myths of Competing Culture

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    Alexandria in Northern Egypt during the second century of the Christian era was a thriving multicultural metropolis not unlike many urban centers of today. Second only in size to Rome itself, it attracted many races, practices, and philosophies, all facilitated by the Pax Romana. In particular, many cultured Greeks came to study in Alexandria’s famous library. One such Greek, who came to be known simply as Clement of Alexandria, arrived around AD 150 as a convert to Christianity. With the death of Marcus Aurelius in AD 180, a period of relative peace began for Christians. Clement found a nearly ideal platform for spreading the good news of Christ. As a cultured Greek himself, Clement directed much of his teaching to his fellow Greeks. His goal, like the author of Hebrews, was to unveil the superiority of Christ to the religious background of Greek mythology. One of his most famous comparisons was of Christ to Orpheus, a mythological demi-god who was able to tame wild animals and conquer death by singing and by playing his magical lyre. In his first writing, the Protreptikos, loosely translated as Exhortation to the Gentiles, Clement argues that at best Orpheus’s song is but music of the old creation, an old song, and does not have the ultimate power of salvation that can overcome man’s fallen condition. But Christ as the New Song is powerful and able to save man both from himself and the destiny of the fall. The New Song proclaims the victory of Christ’s redemption, purchasing men from every tribe and tongue, making them a kingdom to God, and who will reign on the earth (Rev. 5:9-10). This paper examines the main points of comparison of Orpheus with Christ in the Protreptikos. It then explores the legitimacy of such methodology by comparing Clement’s practice to that of Paul in Acts, when he took the opportunity of revealing to the Athenian’s exactly who was the “unknown god” that the Greeks worshipped (Acts 17:23). Are there points in Clement’s approach that should give us pause as Christians, or is this a model for us today

    Design and Fabrication of Quasi-Zero Stiffness Mount Prototypes

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    In the mounting of mechanical systems, vibration isolation may be helpful to enhance the durability and/or comfort of nearby people. Isolation results from low-stiffness mounting, which may have the undesirable byproduct of large-amplitude motion. This project proposes physical prototyping of a nonlinear mount concept which obtains excellent vibration isolation through quasi-zero stiffness (QZS) mounts while maintaining resistance to large motion. The operating principle of these mounts involves large deflections, so candidate 3D printable rubber-like elastomers were selected. Material characterization tests were conducted to provide nonlinear material properties to the finite element (FE) models used in mount design and analysis which predict the desired multi-regime stiffness profile. Physical mount prototypes were then printed and subjected to static and dynamic stiffness testing. Design success criteria include relatively high stiffness under no preload, very low stiffness under a specified preload value, and a smooth force-deflection behavior. Additional features such as an overload stopper were also considered. The prototype mount performance successfully achieved the desired stiffness profile, and additional issues were uncovered related to the effects of damping. More advanced designs and a more thorough investigation of damping are suggested for future work

    DeSantis Suspends Campaign, Two Republican Candidates Left

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    Season 10, Episode 1: Col. Greg Thompson

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    Treating Lacerations to the Carotid Artery

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    Cedarville University vs. Lake Erie College

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    https://digitalcommons.cedarville.edu/mens_basketball_videos/1196/thumbnail.jp

    Cedarville University vs. Malone University

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    https://digitalcommons.cedarville.edu/mens_basketball_videos/1198/thumbnail.jp

    Fence and Seed

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    Capturing scenes with fences and propeller-seeds, six drawings construct a tense, silent atmosphere. Secondary subjects include mollusk-like creatures and mysterious typography. I hope for this body of work to withstand our attempts to assert it into theme, for it to testify the indifferent, concrete form of experience. Implied light and value render varying textures: the splintery surface of the fence, the ripples in the skin of the creatures, the smooth petals of the propeller-seeds. Space appears in the rhythmic positioning of foreground, midground, and background: the creatures in the foreground, the fence in the midground, and an expanse of misty atmosphere in the background. The drawings present both an unsettling tension and a calm quietness. Tension appears in the compositions packed with elements closely relating to one another. Yet, these compositions build on foundational elements of calmness: horizontal line and negative space. Horizontal line, implied by the fence and repeated in the typography, serves as a stable backbone for the compositions; negative space, the airy background, expands beyond the borders of the work, conveying a feeling of openness that absorbs sound. Through my time working with Fence & Seed, I was able to rethink how our language relates to experience. While language is concept which exists only within our range of consciousness, experience always exceeds our consciousness; for example, when we observe an apple, we can accurately perceive and express its color through language, yet we remain unconscious of the innumerable sum of events, that is the physical, anatomical, or psychological mechanics, the experience, that culminates in the apple’s color. This distance between language and experience may be the distance between human language and divine language; human language operates within the reality defined by divine language, unable to exhaust or exceed reality. I conclude that the function of our language is not to replicate experience, but rather, to associate multiple experiences with one another. This conclusion pressures me to clarify our usage of language, namely, to suggest our words should not attempt to describe experience, but rather, should construct a cognitive bridge between experiences — even when this may seem impossible

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