Today we are traveling back to the continent of Africa. The country of Benin to be specific. Our missionary couple that we will be hearing from today is Marti & Brenda Roman. As always if you have any questions for them, I would love to pass the question along.
How and when did you first feel called into missions?
Marti was called to missions when he was 5 years old during a missionary service at his church in Coleman MI. Then while working one of his jobs in college, God spoke to him and told him that he would be a missionary.
I, Brenda, was called at summer church camp when she was 10 years old. It was just a normal service…but when I went down to the altar to pray God told me He wanted me to be a missionary to Africa.
How did you know what country God was calling you to?
After we were approved to go to Africa, Morris Williams presented several different countries that had needs at the time. (1979) One of the countries he mentioned was Benin. I (Brenda) knew immediately that Benin was it. However, I did not say anything to Marti..and sure enough 2 weeks later Marti came and told me that he felt God wanted us to go to Benin. We are still missionaries to Benin! What is your favorite thing about being a missionary, and what is the most difficult thing?
The best thing for Marti is establishing churches in strong Muslim areas. ..the worst thing for him is having to say no to pastors asking for help with building walls or roof for a new church, because of lack of funds.
The best thing so far for me has been influencing the culture for God. (Ruth Center- where young women who would have been forced into marriages etc.. attend a live in 3 year technical school to learn job skills and a re safe) or the micro-finance for widows, or Junior and Teen Bible Quiz where girls are allowed to compete with boys and do very well. The worst is missing my children and grandchildren.
How has Speed the Light affected your ministry?
We both travel all over the country in our ministries..this would be IMPOSSIBLE if not for our speed the light car! Without our Speed the Light vehicles we would not have been able to start over 100 churches in Benin…nor would we have had the outreaches mentioned above.
If you could give any advice to today’s youth, what advice would you give?
We would like to encourage you young people to give your life to your God given passion….it will be more adventure than you can imagine…and there is no satisfaction in the world like knowing you are doing what you were created to do.
Is there anything we can pray with you about?
We are starting itineration in November. Please pray that God will use us as we speak, to challenge others to give their lives to reach a people they do not yet know.
Is there anything else you would like to share with us?
Thank you for all you do in raising funds for our Speed the Light vehicle…we can truthfully say that nearly everyday we get into the car and drive to a village we say, “God Bless the young people who have made it possible for us to be driving this car right now.”
Amen!
Sans Franco Vinas, le site des EdS n’aurait pas existé! Nous avons créé ce site pour exprimer notre mécontentement et, de fil en aiguille, nous avons construit le site le plus actif parlant du Servette FC!!! Pour fêter avec nous ce deuxième anniversaire, les EdS vous réservent des surprises cette semaine avec des cadeaux pour vous remercier de votre fidélité! Dès demain, venez nour rendre visite pour la semaine des EdS!!!!!!
Wieso Typografie? Wodurch erwachte Ihr Interesse an der Schriftkunst?
Bevor ich anfing, Visuelle Kommunikation an der Bauhaus-Uni zu studieren, hatte ich mir noch nie Gedanken gemacht, wo die kleinen Schriften herkommen. Nach einigen Semestern mit Illustrationsschwerpunkt begann ich im Kurs von Gastprof Alex Branczyk und angestiftet von Mitstudenten wie Yanone, Schriftenerkennen-am-Wegesrand zu spielen und andere damit zu nerven. Von diesem Zeitpunkt an bin ich von der Schrift nicht mehr losgekommen. Ich finde, Schriftgestaltung ist die ureigentlichste Grafikkunst – es gibt nur Umriss und Form auf der Fläche, sogar die Farbe fehlt. Und Typografie, das sinnvolle Strukturieren von Text- und Bildebenen, ist der Kern Visueller Kommunikation.
Wer sind Ihre typografischen Vorbilder?
»Vorbild« ist ein sehr großes Wort. In meinem Studium hab ich mir aber ein paar Lehrer gesucht: Zum Beispiel Luc de Groot wegen seiner zeitgemäßen und zeitlosen Schriftgestaltung und seiner Detailversessenheit. Oder Friedrich Forssman wegen seines konsequenten und undogmatischen Umgangs mit Typografie.
Welches Buch zum Thema Typografie haben Sie zuletzt gelesen? Welches würden Sie weiterempfehlen?
Ich empfehle »Fraktur« von Albert Kapr. Wie ich finde, eine gute Zusammenstellung zu Geschichte und Formentwicklung der gebrochenen Schriften, die wegen ihrer intensiv-wechselvollen Geschichte und trotz ihrer ansprechenden Formen leider ein Nischendasein fristen.
Wenn Sie eine Schrift sein könnten, welche Schrift wären Sie gerne?
Meistens bin ich ganz und gar die Schrift, an der ich gerade arbeite. Also momentan eine schmale, kräftige Serifenschrift mit kursiven Einschlägen, tiefer Hüfte und winziger Versalhöhe.
Greifen Sie zu Beginn des Schriftschöpfens zur Feder oder zur Maus?
Meistens entstehen erste Skizzen auf dem Papier, gezeichnet mit dem Bleistift oder geschrieben mit Pinsel oder Feder. Mitunter zeichne ich mittelgroße Buchstaben mit Filzstift sauber auf. Nach den ersten Zeichen im Rechner bleibe ich wegen der praktischen Probedrucke am Rechner. Am allerwichtigsten sind die vielen Nächte, die ich über eine Schrift schlafen muss.
Mit welchen technischen Hilfsmitteln arbeiten Sie? Welchen Scanner, welchen Drucker, welchen Computer, welches Betriebssystem, welche Programme nutzen Sie?
Bleistift B2 auf 120 g gelblichweißem Skizzenbuchpapier. Canon Lite-Skänner. Weißer Apfelklapprechner mit OSX, FontLab und Adobe CS3. Ergänzend ein alter Röhrenschirm. Meine Maus ist vereinsamt, ich nutze Wacom Grafiktablett oder die rechnereigene Fingerfläche. HP Laserdrucker.
Sind Sie Messie oder Purist? Horten sich auf Ihrer Festplatte 2.456.891 Fonts oder sind Garamond, Bodoni, Frutiger und Futura mehr als genug?
Das Messi-ähnlichste ist, dass die Unmengen an Schriften schlecht sortiert sind. Denn wenn ich eine passende Schrift benötige, suche ich meist zuerst in meinem Kopf – für die meisten Anwendungen fällt mir etwas ein. Wie groß mein Kopffundus ist, wurde noch nie gemessen – so gesehen bin ich auch Purist.
Wenn Ihr Font-Ordner nur Platz für zehn Schriften hätte, welche wären das?
Bei dieser Einschränkung würde ich ausschließlich Textschriften wählen. Schrift für Plakate, Überschriften und kurze Texte sollte sowieso öfter mit der Hand geschrieben oder gezeichnet werden!
In Typo-Kreisen werden Comic Sans und Arial gebannt. Welche Schrift darf auf keinen Fall auf Ihren Rechner?
Zu Studienzwecken darf jede Schrift ein paar Byte meines Speichers borgen. Außerdem gibt es für fast jede Schrift eine berechtigte Anwendung. Manche Schriften hab ich mir übergesehen: Futura im gemischten Satz nervt, Arial muss nicht sein und Helvetica ist auch durch. Schriftenvielfalt erfreut mein Typografenauge.
Welcher Buchstabe ist Ihr Liebling? Mit welchem Buchstaben fangen Sie an, wenn Sie eine Schrift entwerfen?
Ich mag die komplexen Buchstaben wie a und g. Da kann man nicht so viel falsch machen. Viel schwieriger ist es, ein schönes s oder c zu zeichnen. Die Idee zu einer Schrift und ihre ersten Skizzen widme ich aber meist prägenden Buchstaben mit wiederkehrenden Formen wie h, d und e. Daraus leitet sich einiges ab.
Wie kamen Sie auf den Namen für Ihre erste erste Schrift?
Meine erste Schrift wurde als Brotschrift erdacht. Dunkel, kräftig und kernig. Im Umkreis dieses Begriffs kam irgendwann der Begriff ›Vollkorn‹ auf (im Gespräch mit Yanone).
Schmieden Sie Pläne für eine nächste Schrift?
Ehrlich gesagt schmiede ich schon eine ganze Weile. Als nächstes möchte ich erst einmal eine meiner fast fertigen Schriften veröffentlichen.
Haben Sie schon einmal einen Buchstaben in Stein gemeißelt?
Leider nein. Dafür kann ich ein Praktikum bei einem Schildermaler vorweisen. Der Umgang mit Pinsel und Malstock ist eine empfehlenswerte Kunst.
Vielen Dank für das Interview!
Ich bedanke mich!
Zur Person: Friedrich Althausen wurde 1981 geboren. Nach dem Abitur absolvierte er ein Praktikum in einer Handweberei. An der Bauhaus-Uni in Weimar studierte er zunächst ›Mediensysteme‹, dann von 2003 bis 2008 ›Visuellen Kommunikation‹ (unter anderem bei: Stephan Eckel, Alex Branczyk, Jay Rutherford und Ricarda Löser). 2006 wechselte Althausen für ein Gastsemester an die FH-Potsdam und hörte bei Luc(as) de Groot, Betina Müller und Hans-Jürgen Willuhn. Beim Schrift- und Grafikmalermeister Norbert Gladis in Weimar leistete er 2007 ein Praktikum ab. Seine Diplomarbeit war die Buch- und Schriftgestaltung für den Knabe Verlag, Weimar. Seit 2008 ist Althausen freier Typograf und Schriftgestalter.
Schriften: Vollkorn
Neuinterpretation der Typoart-Liberta
It’s no secret that energy derived from burning coal is, by far, one of the biggest polluter adding to the concerns of climate change.
Scientists now tell us that we are quickly running out of time to cut greenhouse emissions in order to avoid catastrophic climate change while governments drag their feet on the issue of renewable energy sources.
South Australia has two ageing coal fired power stations at Port Augusta, among the most polluting in Australia, which will be the target of a non violent protest organized by Climate Camp S.A. next week to draw attention to Government and Business the urgent need to find alternatives as quickly as possible.
This entry is the third in our series by Sara, a recent college graduate who has been facing the daunting task of finding her first “real” job. The other two posts are “The Plight of the Recent College Grad” and “Interviewing: Practice Really Does Make Perfect.”
In this post, she talks about receiving her first official offer and discovering that sometimes even when you do get an offer, it isn’t exactly what you were hoping for.
Here’s Sara:
Well, it finally happened; after a strange interview and an extended round of phone tag I came home to a voicemail that offered me a position with a local web-marketing company. It was a full-time job in my field where I would spend most of my time writing and corresponding with other web marketers—what a great opportunity to network and earn money simultaneously!
Too bad I turned it down.
Sure, it was nice to see that someone, somewhere thought I would be an asset for his organization, but too many factors sent up red flags and made me too uncomfortable to accept the position.
First flag, a company that built up clients’ web presence, yet it did not have a website. I spent a half hour before the interview trying to do research on the company, and the only thing I found was a logo. At the interview, I asked why the company didn’t have a site and was told that the company did not need to advertise. It has all the clients it needs and has actually gone so far as to try to avoid picking up a new client. Clearly, the company was not growing—if it was, no one knew about it—which brings me to red-flag number two.
One of the first things out of my interviewer’s mouth was that he “wasn’t looking for a shining star. I don’t want someone to go above and beyond the call of duty, I just want someone to do the work.” Well, if that’s the case, I guess all of my past accomplishments that I’ve spent my life working to achieve mean nothing, so we can just get down to whether I can handle mediocrity.
Another major issue I had with the position was the fact that I had no room to grow. I would be stuck in a tiny office, performing the same task for eight hours a day, with no hope of advancement. What was this job going to do for me other than add another bullet to my resume?
The more I thought about the position, the more I realized that it was a step backward. If I were still in school, then it would have been the perfect position for me to earn money and some basic marketing experience, but it definitely was not the way to start a career. So, instead of settling, I chose to count my blessings, trust that I was better than “perfectly adequate,” and hope that the right position will come along soon.
Michael R. Cosby serves as Distinguished Professor of New Testament and Greek at Messiah College. He earned his Ph.D. from Emory University, with a dissertation on the rhetorical structure of Hebrews 11. In 1999, Mike published Portraits of Jesus: An Inductive Approach to the Gospels (Westminster John Knox). This year, he is publishing two works that have been a long‑time coming: Apostle on the Edge: An Inductive Approach to Paul (Westminster John Knox) and Interpreting Biblical Literature: An Introduction to Biblical Studies (Stony Run Publishing). On that last book, see the first part of my review here.
PM: Thank you, Mike, for taking the time to participate in this interview. You have had a profound impact on my own academic journey, as my advisor from my undergraduate days, and I am excited about the opportunity to pick your brain publicly!
I’d like to start by asking a bit about your background. You have lots of stories from your Montana upbringing that make their way into your teaching and writing. What was sort of religious influences did you have growing up?
MC: Most religious input came from my mother. Dad seldom went to church and seldom spoke about God. Sunday School and church services bored me. I was full of questions, but the message that I heard was “Our church teaches the truth. Your job is to memorize the truth, not ask questions.” It is a wonder that I continued attending after junior high school.
PM: As an undergraduate major at the University of Montana, you were a wildlife biology major. What turned you on to academic biblical studies? What drew you to the study of rhetoric in the New Testament specifically?
MC: I began attending InterVarsity Christian Fellowship my junior year of college. To be honest, I was lonely and wanted to check out the women in the group. I discovered much more. I ended up joining a student-led, small group Bible study of 1 Corinthians. It was life transforming.
The following summer, I attended an InterVarsity training camp and took part in a Mark seminar, where an energetic man named Paul Byer led us through a manuscript study of Mark 1–8. We studied the text of Mark on regular sized, 8 ½ by 11 inch paper. The manuscript contained no paragraphs or verse divisions. We had to deal with the text. That experience opened a new world of academic study of Scripture. Boredom with the Bible gave way to the excitement of discovery. This inductive Bible study experience shaped my approach.
PM: It’s amazing how simple exercises can have monumental consequences! What drew you to the study of rhetoric in the New Testament specifically?
MC: During my doctoral work at Emory University, while pondering a theological dilemma, I ended up doing research on Hebrews 11. As I searched the literature for what had been written about this chapter, I discovered a ton of sermons about the heroes of the faith; but I found very little scholarly work on it. I was shocked.
At first I thought that I would do a form-critical study, searching ancient documents for other lists of heroes. A consistent claim in commentaries was that Hebrews 11 represented a homiletical form, but no one actually documented it. That was to be my study. But I discovered no such form. I found a few lists of heroes or villains, but no form.
My study shifted to analyzing the rhetorical form of these lists. I discovered that they all used magnification techniques. In essence, the authors would list a few examples and then indicate in various ways that they could keep piling up more examples to prove their points. I became fascinated with ancient rhetoric, and that began a long journey into analyzing techniques for persuasive use of language.
PM: You have now published three survey textbooks on the Gospels, Paul, and now the entire Bible. What do you feel has been missing from textbooks already available on these topics and how do your own works address that need?
MC: My philosophy of education may be summarized as follows: Until students see for themselves the complexity of the New Testament documents, they will remain novices in the discipline of Biblical Studies. Reading good books about the Bible does not replace personal interaction with the Bible. My textbooks combine historical and cultural information with inductive questions that help students analyze NT books and discover for themselves the things that other authors mainly just explain to readers. My approach requires more effort from readers, but ultimately it is more rewarding for first encounters with the Gospels or Paul’s letters.
PM: What kind of “edginess” do you suggest Paul embodies in your new Apostle on the Edge?
MC: Paul was at the center of a raging theological storm in the early church. His forceful personality and no-compromise approach frequently put him into conflict situations not only with hostile Jewish crowds but also with Christians who resented his view that Gentiles did not need to obey the laws of Moses. Students are often shocked when they see the anger and sarcastic language in some of Paul’s letters as he lambasts his Christian opponents.
PM: While perhaps lacking in hot-headed attacks toward your opponents, your writing style in Interpreting Biblical Literature is conversational and often autobiographical. What inspired your personal writing style? Did it make writing the textbook easier or more difficult? Did you ever worry that you were taking a risk with this style?
MC: Various editors told me that I needed to write my book for professors, not for students. “Professors,” they said, “are the ones who order the books.” But I insisted that the book should be written for students, with their interests in mind. If students like the textbook and enjoy reading it and come to class prepared, professors will be pleased with better learning and classroom discussions.
Various readers criticized my use of personal stories in the book. They said that they wanted the textbook to just give the facts—that they would provide the stories in their lectures. But students consistently told me that one of the things that they most appreciated about the book manuscript was my stories. Students tell me Interpreting Biblical Literature is far more interesting than their other textbooks. Mission accomplished. I remain unrepentant.
PM: As well you should, of course! For your Interpreting Biblical Literature, you decided to start a new publishing company rather than publish with a household‑name company. Can you share a little about that process? What was your motivation and what were the hurdles to make it reality?
MC: My motivation was that I grew weary of dealing with editors who wanted me to write for professors instead of students. I also grew weary of dealing with transition in publication houses. An editor for McGraw-Hill was very excited about my book and promised to make it a best seller. But he was moved to the history division of the company, and his replacement in the religion division had no history with my project. My experience went from positive to infuriating.
I decided to do it myself. Starting my own publishing company allowed me the freedom to have artistic control over the format. But the amount of work involved in doing an entire project like this one is horrendous. Many times I wondered why I ever decided to embark on this path.
PM: Speaking of embarking on paths, many bloggers of biblical studies are young, aspiring scholars. Do you have any advice on deciding what sorts of books younger scholars should pursue? Do you have any suggestions on finding and working with publishers?
MC: Writing a book involves a great amount of time and effort. Finding a good editor who is interested in your work is difficult. My advice is to determine what you want to write and know your audience. Do your homework on what other books like the one you want to write are already in print. Profitability is the bottom line for publishing houses. They want to know who is going to buy your work. If you go to the trouble of identifying your target audience and explaining it to an editor, you have a much better chance of getting published. Don’t just submit a book proposal with what you consider to be a good idea. Think sales. That is what editors are thinking.
PM: With the beautiful presentation of your first project, many may want to know if you accepting new manuscripts at Stony Run Publishing. If so, what are you looking for in a manuscript? How would one go about submitting a manuscript?
MC: I am not even thinking about publishing other people’s books right now. Working with my own is keeping me insanely busy.
PM: Well, it seems to be paying off! I know that pedagogy is extremely important to you. It seems that most academics simply rehash the styles of their own educators. What have you learned in your years of reading about and experimenting with various teaching styles that these regurgitating academics might have missed?
MC: Try to think about how students learn and what facilitates that learning. Remember how bored you were with some of your textbooks and vow not to put others to sleep. Be creative. Think outside of the box. But you can’t get too far out of the box and be taken seriously by editors. Think through your pedagogy carefully and communicate it clearly to editors who publish works in the area that want to address. Do your homework on the kinds of things that various publishing houses print. Don’t do blanket submissions. Target your proposals.
PM: As a proud Messiah College alumnus (despite the name‑bashing we have received from Jon Stewart), I have to ask about the school. What led you to join Messiah’s faculty? What has kept you there?
MC: I came to Messiah College because of its academic reputation. Administrators here appreciate good teaching. They are pleased with my efforts in writing textbooks. I like my colleagues. My students are mostly polite and are open to learning. And I like the kayaking opportunities in the area.
PM: Would you mind sharing a little bit about what writing projects you might have coming in the future? More inductive textbooks? Any non‑textbooks in the pipeline? Commentaries?
MC: I am seriously considering doing an innovate NT survey.
PM: Thanks again, Mike, for indulging me here. I know my readers will appreciate hearing about your experience as an educator, author, and now publisher.
MC: I wish you the best in your doctoral studies. You have come a long way since your first semester at Messiah College when you were struggling with your initial exposure to academic study of the Bible. I find considerable joy in the successes of my students. I pray that as you and your blogger friends complete your formal studies and enter the teaching profession, you will remember that students are the highest priority. Too many academics publish just to advance their own stature. Do better.
Pay your dues and do good work. Advance the discipline. Be a credit to Biblical Studies. But never get into the cynical mindset that students are a necessary evil so that you can have a position just to do your research and impress others in the guild. Helping students develop their potential is an honorable occupation. If I understand anything about the Gospel of Jesus Christ, it is that serving others pleases God. Maintain your integrity.
And collaborate. You may take a bruising from others when they critique your work. But if your goal is to do a good job, you will brush yourself off, keep your hurt feelings and ego under control, and strengthen your writing in response to their sometimes harsh words. Learn to laugh at yourself. It will take you far. So will kindness. Treat others like you want to be treated.
Wise words, indeed! Stay tuned for more of that review.
If you rely on water allocations for your livelihood, an assurance of how much you will be entitled to is critical, but with the state of the Murray there’s uncertainty for irrigators.
The state Liberals announced yesterday that if elected to government next year they will commit to ensuring critical water allocations are available for viable growers.
To explain the plan in greater detail Liberal leader Isobel Redman spoke with Radio Adelaide’s Peter Godfrey this morning.
