關於 once available meaning ，我們在網路上蒐集到這些相關的討論、資訊與評價

Di antara membaca,bercakap dan menulis,mana satu nak dimulakan dulu?

1. Bercakap.
Usia KRITIKAL : 0-2 tahun.
...Continue ReadingBetween Reading, talking and writing, which one to start first?

1. Talk.
Critical Age: 0-2 years old.

This is the most important element in the life of a human being. Talking is important for us to communicate about our thoughts and feelings so that the people around know what we want to say so that there will be no misunderstanding.

Start since your child just came out to see the world, which is within 24 hours after being born. Greet your child, give greetings... say 'hi', kiss.... hug, say whatever you want to say. Just chat. It looks like it's not right when sitting in the ward, we're talking alone while giving eye contact to the baby. But that's the first thing we have to do since our child was born. And konsistenlah talks to them until they grow up, nak2 in the first two years.

I often ask parents, ' child can talk or not? 'most answer' already, said... ABC, 123 all he knows. Even jawi letters. ' I said, that's not talking. Where is the same talk by knowing those letters!

Talking is communicating. There is an eye contact, got a child answering back to the question, react to the name from mom dad, calling, not mention it.

Once when my child was admitted in the hospital, there was a mother 'talking' to her child who was a year and 6 months in spelling. That's strong! ' B.U.K.U... Book! ' I guess he's the target of his child to be good at spelling while talking. The rest of the time, I see his son just given a gadget and 'learn' through gadgets. Rampage Toksah say it. As long as something is wrong, the child is just raging. Noisy one ward listen!

I'm crazy looking at it!
Spelling is not talking!
Reading is not talking!
Counting not talking!

Talk need to have eye contact.
Speaking must have a understanding between two parties.
Talk must have expression and expression.
Talking is communication, there are people who listen, there are people who reply back.
Speaking must have a impersonation, better to copy in terms of style or sound of rattles.

Giving gadgets and learning at this age?
If possible, avoid it!

2. Doodling & painting
Critical Age: 1-3 years old.
It's important for your child to learn to hold a pencil or a crayon or a big painting brush at the moment for a doodling session.

If you're worried that your child will doodle the wall, buy a big paper paper, paste it on the wall of the house. If there is more budget, wall the wall with paint is easy to delete. If it's so hard to do, just accept that the walls of the house have to be doodle.

Contenting helps the child express their mind.
Doodling helps children strengthen hand muscles.
Content there is a visual element of perceptual (this is another chapter).
Doodling creates midline crossing abilities.
Doodling helps the formation of a finger holding a pencil (Pencil Grip).

Don't care where to doodle. On Paper, on the floor, near the wall, books... we are grown up, please think of the best way to encourage children to be doodling. Follow everyone who wants to control your heart and feelings to see the house messy or what.... most importantly, think of the way!

May I make the element of the sand, the ground, the stone... for the wood twig... no complaints, as long as the child can be conteng.

During this age, don't force your child to write too much. It's fun to ask to write ABC, number, jawi letter...

Teach child painting after doodling.
Paint bentuk2 that is around us.
Animal Paint, plants, homes, or anything.
Accompany the child to draw.
Use water colour, crayon or any drawing tools.
It's not a waste to spend money buying these things. Not a loss!

3. Coloring.
Critical Age: 1-3 years old.
Teach the color at this age.
Coloring activity helps children form straight, vertical, oblique, rounded lines and so on.

The Color of the painting that is in let it fit the age of the child.
Don't be asked to coloring the complex painting. If possible, avoid coloring the painting inside the gadget.

Coloring in gadgets does not bring any meaning to hand muscle. How to develop a memory motor against the line?

At this age, you don't have to worry if the children are still not good at the color in the line. Still the color out the line is normal. No problem. The most important thing is, he knows where to color it.

Create a concept of coloring as early as possible. No need to wait until school is just about to coloring.
No need to bring to the mall, coloring at the that has of for in, then you have to pay. The color at home is better. It's better for us to draw a picture of our family, ask our children to be color. Simple. Saving a lot.

4. Writing and reading.
Critical age of writing: 4 years
Starting age knowing letters and numbers: 4 years
Beginning of reading age: 5 years and above.
Age that is considered late to be able to read: 11 years.

Logically, when the child has learned a lot of lines through doodling and coloring, it's self-prepare to write. This time it's easy to write letters and numbers even though they don't know the letters and numbers yet. No problem.

Can teach to write in a session, then teach to know the letter in the later session.... at the age of 4! This is the earliest age! Not too late yet.

No need to worry because once a child and learn letters, a few letters... start to read at the age of 5

If we follow all this process gradually, God willing, the child has no problem! No need to worry too much.

If we 'turn' all this process, there will be consequences because it has violated the development of a human being.

If you feel there is an effect, don't be shy to bring the therapist to fix the problems that are available.

So much.

.........

Picture for example only not encourage for children to doodle walls.

Parents please paste the big paper on the wall so that the children are free to play at the same time they can work comfortably

Source: Liyana Raya

.
Follow the wholesale expert page for baby stuff
Follow / add years Rozila TrbTranslated

Who is Messiah?

Messiah or Mashiach is a Hebrew term meaning "the anointed one" or "the chosen one". It comes from the Hebrew word "mashach" which means to anoint with oil. The Greek equivalent of Messiah is "Christos", translated in English as Christ.

In the Old Testament, whenever God chooses a new priest, prophet or king, He will instruct that chosen person to be anointed with oil as a sign of being specially set apart in service to Him.
For example, Moses anointed Aaron as a priest, Elijah anointed Elisha as a prophet in his place and Samuel anointed David as king over Israel.

Even furnishings in the tabernacle of Moses were anointed with oil to be set apart as holy objects for worshipping God.

So anything anointed with oil to be set apart to God is considered "maschiach".

However all these actually point to the true Messiah who would be anointed and chosen by God to complete the most important mission of all—to save mankind from their sins.

The ‘anointing oil is a picture of the Holy Spirit who comes upon the Messiah to provide divine empowerment.

In the Old Testament, there are many prophecies that point to this Messiah who would save Israel from their sins.

Jewish Rabbis mistakenly believe that there are two different Messiahs: one is "Messiah the Son of Joseph" (Mashiach Ben Yosef) and the other "Messiah the Son of David" (Mashiach Ben David).
This is because both are portrayed so differently that they think it's talking about two different people.

Mashiach Ben Yosef is depicted as a suffering servant who suffers and dies on behalf of Israel, whereas Mashiach Ben David is described as a glorious, triumphant King who defeats Israel's enemies and saves her, establishing a worldwide kingdom of peace.

Many Jews wrongly think that Mashiach Ben Yosef will act as a forerunner to announce the coming of Mashiach Ben David.

“The woman said to him, “I know that Messiah comes, he who is called Christ. When he has come, he will declare to us all things.” Jesus said to her, “I am he, the one who speaks to you.”” (John‬ ‭4:25-26‬ ‭WEB‬‬)

Jesus plainly declared Himself to be the Messiah and fulfillment of the prophecies about both Mashiach Ben Yosef and Mashiach Ben David.

These prophecies are not talking about two different men, but refer to the different purposes of Jesus' first and second coming.

During His first coming, Jesus came as the Lamb of God to die as a perfect atoning sacrifice for the sins of the world. At that time, He didn’t come to destroy men but to save men’s lives.

In His impending second coming, Jesus will return majestically as the Lion of the tribe of Judah to defeat the Antichrist and save Israel from him and his wicked armies.
Jesus will then establish His kingdom from Jerusalem and usher in a thousand year period of world peace known as "The Millennial Reign of Christ".
Finally, He will sit on His throne as the Judge over the living and the dead, rendering to each one according to their works.

“Believe me that I am in the Father, and the Father in me; or else believe me for the very works’ sake.” (John‬ ‭14:11‬ ‭WEB‬‬)

While He was on earth, Jesus authenticated His claims of being the Messiah by working numerous miraculous signs and wonders, causing many to believe in Him.

Out of the many miracles, thirty-seven specific ones were selected by God to be recorded in the four gospels in the New Testament.
This is definitely not by chance—God wants us to study these miracles and see different aspects about Him revealed in them.

In my upcoming book "Messiah's Miracles—The Power of Having Faith in Jesus Christ", I expound all thirty-seven miracles and unveil God's heart of goodness, grace, mercy and love towards us as demonstrated through these miracles.

It is not God’s will for a Christian to live a natural, powerless life.
We are supposed to be seeing and enjoying the miraculous power of God at work in our lives and in the lives of those we minister to.
We can't afford to only have the word of God without the power of God—effective evangelism hinges on the potent combination of both.

“For God’s Kingdom is not in word, but in power.” (1 Corinthians‬ ‭4:20‬ ‭WEB‬‬)

Often we don't experience the power of God because we don't expect it to.
Some of us pray just soothe our emotional turmoil, and others go for church just to hear a good message to feed the mind, and walk off to lunch untransformed, never really encountering Jesus.

What better way to feed our faith for the miraculous than to meditate on the miracles that Jesus did? This faith-feeding process is what I feel led to facilitate through my upcoming book.

When you become a "God Every Morning" (GEM) tier and above patron on Patreon, you will receive the ebook once it's ready (early this year), ahead of everyone else who will be available to purchase it in-store.

I believe that "Messiah's Miracles--The Power of Having Faith in Jesus Christ" will be a great blessing to you. As you see God's heart for you in each one of Jesus' miracles, faith will arise in your heart to receive an overflow of miracles in all areas of your life as well.

Become a patron on Patreon (remember to click "Show More" to see all tiers) and partner with us in proclaiming the Gospel of Jesus Christ to the world: http://patreon.com/miltongohblog

#MessiahsMiracles #Patreon

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.
........................................................

Price: $60,000 per pair.
Warranty: Five years parts and labor.

(Source: The Audio Beat)

「through the grains of time, I see you...」

► RRAEIB Album Preview: https://youtu.be/eiIZAGIRlBQ
► RRAEIB Reflections Series: https://youtu.be/iwL0qNXb8FY

《Circles》a song from「Ripples, reflections and everything in between」available now on:

Apple Music: https://apple.co/2VeZ6St
iTunes: https://apple.co/2o6meqo
Spotify: https://spoti.fi/2MehrLw
JOOX: https://joox.page.link/a1p9WV
KKBOX: https://kkbox.fm/GA4gcO
MOOV: https://s.moov.hk/r?s=xYQllK
MusicOne: http://bit.ly/2VfLztK
Amazon Music: https://amzn.to/2AQ0EZE
Napster: http://bit.ly/33fDx7h
TIDAL: http://bit.ly/2Isfudk
friDay 音樂: http://bit.ly/2IoIp1A
MyMusic: http://bit.ly/2oU7Tgq
QQMusic: http://bit.ly/2MamDjq
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網易雲音樂: http://bit.ly/2IpDoG8

Facebook: http://www.facebook.com/persehk
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Twitter: http://www.twitter.com/persehkofficial
contact us: persehkmusic@gmail.com

per se:
Stephen Mok - vocals, guitars
Sandy Ip - vocals, keyboards

【Circles】// circle of time
Composed // per se
Lyrics // Stephen Mok @ per se
Arranged // per se
Produced // Victor Tse & Stephen Mok @ per se

two fates collide
on a summer day
lifetime held tight
but their time was fleeting
sundial rewinds
as the scene repeats again
in a dream of mine
through the grains of time
I see you

then comes goodbye
in the autumn rain
car lights dash by
and the world keeps spinning
sundial rewinds
as the scene repeats again
in a dream of mine
through the grains of time
I see you

did he take too long?
dancing in time... going round

all the words were left unspoken
promises too soon forgotten
faded photographs will hold no meaning
when the time comes

countless stories in rotation
past mistakes in time forgiven
everything will once again repeat
so when the time comes

two fates collide
on a summer day
lifetime held tight
as the scene repeats again
through the grains of time
I see you


OP: Frenzi Music Limited admin by Sony/ATV Music Publishing Ltd (Hong Kong)

#persehk #Circles #RRAEIB

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Kasutera (Castella) is a very popular Japanese sponge cake made from a few ingredients.

It is a very typical Oyatsu (snack) in Japan :)

I am going to bake it in a rice cooker, but of course you can bake it in an oven!
I don't recommend baking any kind of cake in a really good rice cooker (it can damage your pot), so please try if you don't mind it!!!

FYI from Wikipedia:

Now a specialty of Nagasaki, Kasutera was brought by way of Portuguese merchants in the 16th century. The name is derived from Portuguese Pão de Castela, meaning "bread from Castile". Castella cake is usually sold in long boxes, with the cake inside being approximately 27 cm long. It is somewhat similar to Madeira cake, also associated with Portugal, but its closest relative is pão-de-ló, also a Portuguese cake.

There are similar types of sponge cakes named after the same fashion, in French: Pain d'Espagne, in Italian: Pan di Spagna, in Portuguese: Pão de Espanha, in Romanian: Pandişpan, in Bulgarian: пандишпан, in Greek: Pantespani, in Turkish: Pandispanya (Castile is a former kingdom of Spain comprising its central provinces, thus Pain d'Espagne and other variants are quasi-synonymous to "bread from Castile").

---------------------------------
Kasutera

Difficulty: Very Easy
Time: 2hrs (incl. cooking time)
Number of servings: N/A

Ingredients:
3 eggs
90g (3.2oz.) sugar
45g (1.6oz.) cake flour*
45g (1.6oz.) bread flour (strong flour)*
2 tbsp. milk
1 tbsp. honey
butter
*you can use 90g (3.2oz.) all purpose flour instead

Directions:
1. Warm the milk in a saucepan. Add honey and mix well.
2. Place the eggs and sugar in a large bowl. Beat them with an electric mixer until white and fluffy.
3. Add 1 in 2. Place the bowl over a pan of hot water. Mix until the batter continuously drips back into the bowl like a ribbon when you scoop it up.
4. Sift in flour and gently cut through the mixture with a spatula until combined.
5. Butter the pot of the rice cooker and pour in the mixture. Drop the pot lightly on the counter to raise the air bubbles out of the batter. Place the pot in the rice cooker, close the rice cooker, then press the button to start. *When it is half-baked, press the button to start (cook) once again.
6. When it's done, let cool on a wire rack until warm. Then place it in a plastic bag (to keep it moist) to cool completely. It tastes even better the next day after the flavors have settled!

How to bake in the oven:
Bake in an oven at 170C (338F) for 10 minutes. Then turn down to 140C (284F) and bake for 40-45 minutes.

レシピ（日本語）
http://cooklabo.blogspot.jp/2013/03/blog-post_21.html
---------------------------------

Music by
Josh Woodward
Are You Having Fun? (Instrumental Version)
http://www.joshwoodward.com/
http://www.youtube.com/joshwoodward

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