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Measuring God’s Love

“that Christ may dwell in your hearts through faith; to the end that you, being rooted and grounded in love, may be strengthened to comprehend with all the saints what is the width and length and height and depth, and to know Christ’s love which surpasses knowledge, that you may be filled with all the fullness of God.” (Ephesians‬ ‭3:17-19‬ ‭WEB‬)

There are different degrees of revelation about God’s love.

Most people believe that God is all-powerful and that He can do all things.

However many people feel that God is against them and out to punish them for their sins.

Some Christians believe that God has forgiven them through Jesus Christ, but that they have to deserve their blessings through their obedience by obeying the Law.
This means that they can fall in and out of God’s favor, depending on how they behave.

We need to get to that point whereby we believe that God always favors us, and that He has already blessed us with every spiritual blessing in the heavenly places in Christ Jesus.

This is His love for us: through Jesus’ finished work at the cross, He is able to do what’s in His heart—to express His love for us righteously without any barriers in the way.

Width and length speaks of a range across different types and categories.
What is the width and length of God’s love?
Unlimited—you have been forgiven of every type of sin because Jesus took your punishment.

Height and depth speaks of the magnitude—how much or little of something.
The height and depth of God’s love is also unlimited, meaning you have been forgiven of every degree of sin, no matter how grievous or minor that sin was.

Even having this revelation, we still cannot fully comprehend His love for us because it surpasses knowledge. How perfect and amazing this love is.

Are you still exclusively calling Him God or Heavenly Father and telling yourself that you’re doing so for respect’s sake or to ‘hallow’ Him?

Actually you’re doing so because you still sense a distance from Him, like you’re just a servant with no right to approach Him at will.

“And because you are children, God sent out the Spirit of his Son into your hearts, crying, “Abba, Father!” So you are no longer a bondservant, but a son; and if a son, then an heir of God through Christ.” (Galatians‬ ‭4:6-7‬ ‭WEB‬)

By receiving fresh revelation of His love, we can come to a place where we’re comfortable with calling Him “Abba God” (meaning daddy God”).

The closer you see yourself to Him, the easier it is to be in faith.
We are not following a religion—we have been born again into a loving family, and we can enjoy familial relationship with Abba God.

Meditate on the width, length, height and depth of His love for you, and see that you’ve been totally forgiven and you’re now totally righteous in Christ.
Abba God is not holding back any love or blessings from you.
You just need to believe and speak it forth—boldly receive as much as satisfies you!

In my new book “Messiah’s Miracles—The Power of Having Faith in Jesus Christ”, I expound on every one of Jesus’ 37 recorded miracles in the four gospels.

Each chapter is designed to ignite your faith and increase expectancy in your heart to receive miracles now.

I believe that as you see Jesus working miracles in the four gospels, unveiling God’s heart of love, goodness and mercy towards man, you will also receive faith to see miracles in every area of your life!
You will also be able to walk in the power of God when you expect to see the supernatural gifts in operation.

Testimonials for the book:

“One of my most trusted teachers has truly written a masterpiece. I can't put this book down.”
- Michael Clark, Highly Sought-After Preacher in USA

“Thank you, Milton for the anointed sharing of the 37 miracles of Jesus. Right from the 1st miracle, God dropped fresh revelations of His heart to me. It wasn't head knowledge that I experienced. I felt His personality, His loving heart's intents towards me. On top of that, there's also revelation of His healing power. Praise Jesus for transforming my heart and bringing me closer to Him through Milton's sharing.”
- Ann Tan, GEM patron from Singapore

Get the paperback (hardcopy) edition on Amazon:
https://www.amazon.com/dp/B0849Z3J7Y

Get the Kindle edition on Amazon:
https://www.amazon.com/Messiahs-Miracles-Power-Having-Christ-ebook/dp/B084C56QZQ

Get the digital eBook edition on my website:
https://www.miltongoh.net/store/p21/messiahs-miracles-the-power-of-having-faith-in-jesus-christ-milton-goh.html

#Gospel #GodsLove

Alumine Five of Stenheim

Stenheim is a relatively late entrant to the high-end speaker field. It was founded in 2010 by a collective of mainly ex-Goldmund engineers, and its products have inherited an unmistakable aesthetic and, to a lesser extent, sonic DNA, although it was a significantly evolved character that was to emerge in the shape of the debut model, the compact, two-way Alumine Two. It’s a developmental divergence that has continued and, if anything, accelerated with the emergence of each subsequent product. The latest Stenheim speakers, developed under the auspices of new owner Jean-Pascal Panchard, definitely have their own, unambiguous identity, both visually and musically.

I’ve been seriously looking forward to the arrival of the Alumine Five. Previous experience with the brand has included impressive exposure to the various versions of the enormous and enormously impressive Ultime Reference models, as well as a brief but highly rewarding flirtation with the stand-mounted Alumine Two in my own system. The possibility of combining the sense of musical articulation, enthusiasm and communication I experienced from the Alumine Two, with more than a hint of the clarity, scale and authority so effortlessly delivered by the Reference models, all in a package that, if not exactly affordable, at least isn’t completely out of the question, makes the Alumine Five a distinctly interesting proposition.

Yet, confronted with the Alumine Five in the flesh, there’s little to hint at the extraordinary promise lurking within. Resolutely rectangular in true Stenheim style, the Five’s aluminum cabinet, with its plate-to-plate construction, stands just 48" tall, 15" deep and presents a broad 11" face to the world, dimensions based on golden-ratio numbers. The front baffle is split by a physical break between the upper midrange-treble enclosure and the lower bass cabinet, independently ported by the laminated full-width slots above and below, a physical separation that is mirrored by the contrasting inlaid strips that help visually break up the one-piece side panels. The regular lines, smooth surfaces, flawless matte finish and lack of visible fixings could easily result in a bland, almost featureless appearance. But those trim strips and the offset midrange and treble drivers do just enough to give the Five a subtle hint of individual style without resorting to the sort of gauche and ostentatious flourishes that so often pass as design.

The result is a refreshingly clean, classical appearance that will blend seamlessly with a range of different decors. Despite the lack of grilles (although they are available as an option, does anybody really spend this kind of money on a speaker and then compromise the performance by fitting covers?), the beautifully profiled baffle and absence of visible fixings makes for a genuinely neat, finished appearance that matches the superb surface finish on the cabinet. The end result just looks right, in a way that makes you wonder why you’d want grilles anyway.

The first hint of its potent sonic capabilities comes when you try to pick it up. Each comparatively compact cabinet tips the scales at 220 pounds. That’s a grunt-inducing, two-man lift. Now, take a look at the figures for bandwidth and sensitivity, and an in-room response that digs down as far as 28Hz combined with 94dB efficiency should raise your eyebrows, especially given the compact cabinet dimensions. Which brings us to the first experiential disconnect: boxes this size shouldn’t produce this much bass or do it so easily. Nor should they weigh so much -- although therein lies the clue to this particular conundrum. When it comes to bass extension, it’s not the external dimensions of the box that matter, but its internal volume. Just like the Crystal Cable Minissimo, a thin-wall cabinet makes for a much larger internal volume than the external dimensions might suggest -- especially if we apply the expectations of more conventional wood-based construction. Throw in the sheer weight of the aluminum panels and the combination of mass and physical dimensions would subconsciously suggest massively thick walls -- and a correspondingly limited internal volume. Instead, what we have here is a deceptively large volume, which, combined with the inertia of the heavy cabinet and the mechanical stability provided by the material, makes for an effective mechanical reference for driver movement, meaning that more of the energy your amplifier sticks into the speaker comes out as sound and (at least in theory) it will be more precisely rendered.

So far, not very much that’s new. It’s not like Stenheim (or Magico, or YG Acoustics) has exclusivity when it comes to aluminum cabinets. But what does make Stenheim different is the unique material they use in damping their cabinet panels. Of course, the separate enclosures and the internal baffles they demand make for an inherently heavily braced structure, but look inside a dismantled Alumine Five and you’ll find strategically placed pads stuck to the cabinet walls. These three-layer, self-adhesive pads combine a heavy damping layer (adjacent to the cabinet wall itself) with added foam and impervious layers, allowing the low-volume pads to influence both the mechanical behavior of the cabinet itself and the enclosed volume. It’s an interesting solution because it manages to overcome the weakness so often audible in simple, braced aluminum cabinets (the all-too-recognizable resonant signature of the material itself) while maximizing the benefits (large volume and rigidity) by obviating the need to stuff the internal space full of wadding or long-haired wool. In fact, if the Stenheims were stood behind a sonically transparent curtain, you’d be hard-pressed to recognize the music as emanating from an aluminum cabinet at all. The absence of the bleached, grainy or lean colorations, the lack of sterile, mechanistic reproduction, is one big half of the Stenheim story, living, breathing proof that it’s not what you use but how you use it that counts.

The other half is down to the drive units, and after the cabinets, those come as quite a surprise, both the lineup and the chosen materials. In stark contrast to the use of the latest, precision CNC techniques, complex damping pads and finishing options, the Alumine Five's drivers are as traditional as they come, with a coated silk-dome tweeter and pulp or laminated paper midrange and bass drivers. The cone drivers use textile double-roll surrounds and massive magnets more normally found in pro-audio applications, and while Stenheim doesn’t build its own drivers, the company works closely with its chosen supplier (PHL, definitely not one of the usual suspects) to specify the electrical parameters, mechanical characteristics and precise details of the surface coating.

The use of such lightweight cone materials and large motors aids the system efficiency, while a hybrid second-order/Linkwitz-Riley crossover, the result of extended listening and evolution, ensures phase coherence and excellent out-of-band attenuation and makes for easy non-reactive load characteristics, despite the three-way topology. The other aspect of the driver lineup that might be considered slightly unusual is the use of a large-diameter (6 1/2") midrange unit -- although less so since Vandersteen’s patent on the approach lapsed some years ago, resulting in a rash of companies suddenly exploring the possibilities of the topology.

Perhaps more important, in the case of the Alumine Five, it means that you are getting the tweeter and midrange drivers from the Ultime Reference series speakers, teamed here with a pair of 10" woofers but without the benefit of a super tweeter. Even so, Stenheim quotes bandwidth out to 35kHz, which should suffice for most purposes. The review speakers arrived with the optional second set of terminals installed, allowing for biwiring or, more significantly, biamping, an upgrade opportunity that makes this an option you should take. If, in the meantime, you are single-wiring the speakers, make sure you factor in a set of jumpers that match your speaker cables: the Alumine Five's overall sense of musical coherence makes the benefits especially obvious. Likewise, good wiring practice is essential, both in terms of cable dressing and diagonal connection (red to midrange/treble, black to bass, with jumpers arranged accordingly).

Aside from the speaker's substantial weight, the parallel sides and flat surfaces of the four-square cabinet make setting up the Fives an absolute joy. Precise, repeatable, angular adjustments are easily achieved, while changes in attitude are just as straightforward, helped by the beautifully profiled stainless-steel spiked feet and deeply cupped footers. Both the cones and their locking rings have nice, large ports to take the supplied pry bars, but it’s worth greasing the threads before installation. One other thing to watch out for: the spikes are seriously (refreshingly) sharp -- sharp enough to penetrate a thick rug and score the floor below, so be careful where you stand the speakers once the feet are installed. Final positioning disposed the speakers on a broad front with minimal toe-in. When it came to dialing in their considerable musical energy, the most critical factor proved to be height off the ground, with tiny adjustments of the spikes making profound differences to the weight and pace of the presentation. Likewise, equal weighting of the four spikes was crucial to a proper sense of grounded weight and dynamic authority.
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Price: $60,000 per pair.
Warranty: Five years parts and labor.

(Source: The Audio Beat)

Today’s post is all about understanding your bum! Since ramai tanya Nana how to build, tone, shape, lift, kurangkan fat around bum area.
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My honest answer is, I can’t simply give you a general routine/answer & expect you will get the same outcome as per what you envision.
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Most of us ladies have different bum shape (square, wide but flat, volume but saggy, small & perky, etc). But many of us think that we all have the same bum shape.
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In order for you to improve your bum shape, 1st, you need to understand exactly which muscles certain exercise will hit. And variations of foot placements, angles etc lah. Honestly improving the shape of your bum is not as easy as it seem or we think.
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And of course, general exercises such as sumo deadlift, hip thrust, kickbacks, pulses squats etc will help shape and improve the bum however, for most people, recruiting and engaging the right muscles while performing these exercises may be a challenge.
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Take for example, how many of you have done squats and only feel the sore on your quads more instead of bum and the growth of your legs is faster than 🍑?
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The exercise could be the same but the way we engage and perform the exercise will make hell lot of diff.
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Given the example of my self (have to use own self la coz I don’t know yours), I have straight ruller shape (honestly my bum was like landasan and super flat before - wasn’t bless with Latina’s shape tho). So because of this, I have to pun in a lot of work to improve mass, width, lifting the saggy bum and also build the top area (posterior). Meaning, tonnes of heavy compound Bum Focus exercise, abductor, variations of kickbacks and banyak lagi lah.
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So to conclude this, you ladies 1st need to understand what each exercise does and not simply buat and expect the same result (I don’t know whether this make sense to you guys).
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Tips etc to be cont in next post 😅
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#underArmourMy #applewatchseries3 #bodylabbynana #Bootiful

Char kway teow, literally "stir-fried ricecake strips", is a popular noodle dish in Malaysia, Singapore, Brunei and Indonesia. The dish is considered a national favourite in Malaysia and Singapore.

It is made from flat rice noodles (河粉 hé fěn in Chinese) or kway teow (粿条 guǒ tiáo in Chinese) of approximately 1 cm or (in the north of Malaysia) about 0.5 cm in width, stir-fried over very high heat with light and dark soy sauce, chilli, a small quantity of belachan, whole prawns, deshelled blood cockles, bean sprouts and chopped Chinese chives. The dish is commonly stir-fried with egg, slices of Chinese sausage, fishcake, beansprouts, and less commonly with other ingredients. Char kway teow is traditionally stir-fried in pork fat, with crisp croutons of pork lard. In Penang, Char kway teow is commonly served on a piece of banana leaf on a plate, so as to enhance the aroma on the noodles.

The term "char kway teow" is a transliteration of the Chinese characters 炒粿條 (in simplified Chinese 炒粿条), Teochew origin and also pronounced chhá-kóe-tiâu? in Min Nan (also known as Teochew or Hokkien). The word kóe-tiâu (literally meaning "ricecake strips") generally refers to flat rice noodles, which are the usual ingredient in West Malaysia and Singapore. In East Malaysia, on the other hand, actual sliced ricecake strips are used to make this dish.

Owing to the dish's popularity and spread to Cantonese-speaking areas, the term "char kway teow" has been corrupted into "炒貴刁" in Cantonese. The term "貴 刁" has no real meaning, but its pronunciation in Cantonese and Mandarin is similar to "粿條" in Min Nan.

In Hong Kong, "char kway teow" is often known as "Penang char kway teow" (檳城炒粿條 or 檳城炒貴刁)

Selamat Menyambut Ulang Tahun Hari Kemerdekaan Ke-57!

Thanks Instill Films for helping out: http://www.youtube.com/user/instillfilms

and thanks to those who were so sporting to be interviewed. It was a lot of fun, even for myself.
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What is National Day?
Definition: Designated date on which celebrations mark the nationhood of a nation or non-sovereign country, which nationhood can be symbolized by the date of independence.

Who came up with the Negaraku Song?
The tune was originally used as the state anthem of Perak, which was adopted from a popular French melody titled "La Rosalie" composed by the lyricist Pierre-Jean de Béranger.

How many times did Mahathir shout Merdeka in 1957?
First of all, that was a trick question... it was Tunku Abdul Rahman. Not Mahathir, nor Najib. and he shouted 7 times.

How many points does the star have in our flag? and how many stripes?
Number of points the star and stripes are both 14. Representing 13 states and Federal Government. The 14-pointed star symbolises the unity of the 13 states with the Federal Government. The stripes all have equal width.

What is the name of our flag?
Jalur – A Malay word meaning a band or stripe of colour. The 14 parallel red and white stripes symbolise a common mission, a common direction and a virtuous path followed by the peoples of all states regardless of creed, race and religion.

Gemilang – A Malay word meaning bright, brilliant, resplendent or excellent.

Jalur Gemilang represents the excellence of the peoples and the nation of Malaysia in every field, be it at national or international level. Jalur Gemilang symbolises a nation and peoples who are hard-working, patriotic, strong, courageous and prepared to sacrifice for the race, nation and religion.

How many prime minister was there before Najib came into position?
Answer is 5. Najib is the 6th Prime Minister.

How many states in Malaysia?
13.
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*This content was based on true responses*

Know Malaysia, Love Malaysia, Be a true Malaysian.
_____

Find me here:

http://www.facebook.com/seanlje
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http://www.instagram.com/seanlje

) is ..Tsutenkaku (.. belvedere that builts in the center part in the vicinity of the new world in Osaka Prefecture Osaka City Naniwa Ward. Registering material cultural asset in country. It is familiar as one of the symbols of Osaka, and famous as the tourist spot.
Design and structure

* Main body: Iron frame make (a part of iron frame ferroconcrete make)
o ..tower.. height: 100m on the ground
o Width: 24m
o Between legs: 24m.
* Observatory: Iron frame reinforced concrete Concut make (two surrounding
glass -lined stories)
o Height: Even 84m and the second floor floor are 87.5m even in the
first floor floor.
* Supplementary building: Iron frame ferroconcrete make
* The performance: The earthquake of the Great Kanto Earthquake class and
the strong wind of 70 meters in the velocity of the wind can be stood.

Outline

Present Tsutenkaku was completed by the second generation in 1956(1956). Sightseeing..Ltd...Ltd.. It is managed. Height including the lightning rod is 103m(The height of the tower is 100m). The designer is Naito multi relations that handle the Nagoya television tower and Tokyo Tower, etc. almost made a simultaneous period. It is Okumura Construction that constructed construction.

It is a Confucianism person, and Fujisawa south Gaku that named, "Tsutenkaku" in the meaning "High
building that runs to the heaven" at the beginning of the Meiji era.

Hitachi Ltd. of the total electric machine enterprise has published an ad to the side in the tower since 1957 a finished year of Yoc (1957). It is assumed that it is a start that the speculation of sightseeing in Tsutenkaku to look for the major company that can publish an ad by extending over a long period of time for Hitachi and the funding to have tried to advance to Osaka in rivalry with the major electric machine enterprise (Matsushita Electric Industrial Co., Ltd., SANYO Electric, and Sharp, etc.) in local at that time agreed with coming put on the advertisement by Hitachi. Detaching (Refer to the Cda article) and the citizens who felt the sense of incompatibility for the signboard without the mark at that time were not few in 2001 when Hitachi had discontinued it before though "Child mark of the turtle" that was the company pin of Hitachi had been put on the upper part of the advertisement either.

It interrupted, the environmental pollution etc. such as the urban ozones became factors, too and one million people were decreased sharply to about 200,000 people in 1975 in 1965 in 1956 when Ta was gotten in the second generation Tsutenkaku though the visitor had been exceeding 1.55 million people during year. The recovery tendency was gradually shown afterwards, there were a television program that made Tsutenkaku a stage and a rise among which the spit cutlet was popular, too and it recovered by one million people or more in 900,000 people and fiscal year 2007 in 2006. As for attendance figures increase in Tsutenkaku, sightseeing in Tsutenkaku is one to comment, "A young person might be requesting the emotion that seems to be Osaka from the new world".
It shines when 0 minutes per hour have passed in addition since the entire tower was colored because of the light of the neon based on the golden color and white at nighttime by the gradation with a vivid face of a large clock on the tower east side side. Neon is remodeled every about five years, and the present one is the 12th generation. Moreover, the neon light that shows next day's weather forecast by combining four colors lights to the tower top (fine = white and cloudy weather = bitter orange and rain = blue and snow = pink). The device of this neon light is connected with Osaka District Meteorological Observatories by the lease line, and is the one that the mechanism that forecast is displayed based on information from there it, was produced by Hitachi Ltd. in 1979(1979), and set up.

It was removed when the neon of this age was renewed, and the belt in three main lines in side was installed afterwards though it hung under the view room out the chapter of the monogram company of Hitachi Ltd. in 2001.

It was updated made in Hitachi in 2001 though an elevator at that time at the time of completed the second generation was made of the Orient Ortis elevator (present and Japanese Ortis elevator).

When the 50th rebuilding anniversary came in 2006, repair work was done. The color of neon was changed besides the shape of a large clock was changed to the octagon by Maru, and it came to stand out more.