A great man is one who collects knowledge the way a bee collects honey and uses it to help people overcome the difficulties they endure - hunger, ignorance and disease!
- Nikola Tesla

Remember, remember always, that all of us, and you and I especially, are descended from immigrants and revolutionists.
- Franklin Roosevelt

While their territory has been devastated and their homes despoiled, the spirit of the Serbian people has not been broken.
- Woodrow Wilson

Katarina Miljković

Composer Katarina Miljkovic investigates interaction between science, music and nature through collaborative musical performance. This interest led her to the mathematician Benoit Mandelbrot's essay The Fractal Geometry of Nature and self-similar complex structures resulting in the cycle, Forest, “…a dreamy piece, along the lines of Feldman or Brown, entirely captivating (Signal to Noise). Her generative music has been described as a refined, hypnotic dream (Danas) a work of musical and visual slow-motion with only a few delicately elaborated musical metaphors (Radio Belgrade), "ambient tone poem... that moved hypnotically through the sonic frame" (Lucid Culture).

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In collaboration with Wolfram Research, Miljkovic has been working on sound mapping of the elementary rules from Stephen Wolfram's New Kind of Science. She presented her exploration in this new field at NKS conferences in Waltham, MA, 2004, Washington, D.C., 2006, University of Vermont, 2007, Wolfram Technology Conference, Champaign, IL, 2005, The Musical and Scientific Legacies of Iannis Xenakis, 2006, Toronto, Cambridge Science Festival, 2009-2010, Boston Cyber Festival, 2007-20011, the International Conference on Mathematics and Computation in Music, 2007, Berlin, and Empirics, Computation, Mathematics, Science and Technology in Music and Acoustical Signal Analysis (ECMST ~ MASA), 2010, Berlin, Electronic Music Midwest, Chicago, IL, 2010, First Night, Boston, 2011.

Katarina Miljkovic's works have been performed at major music festivals in her native Yugoslavia, including the Belgrade Music Festivities, BEMUS, Music Biennale and World Festival of Chamber Music in Zagreb, the Rostrum of Yugoslav Music and, at the international festivals in Budapest, Romanische Sommer, Cologne and soundAxis, Toronto. Her Rondo, Sequence for String Orchestra was performed internationally by Belgrade String Orchestra in China, Greece, Hungary, Bulgaria, Italy, Russia, and Great Britain, at venues such as the Beijing Concert Hall, the Moscow Conservatory Big Concert Hall and the Bulgaria Symphony Hall. Miljkovic's work Swifts, for Symphonic Orchestra was performed by the Belgrade Radio Orchestra, the Athens Symphony Orchestra and broadcasted internationally. Her recent collaborative projects include works with Theater Dah from Belgrade, director Vlada Petric, Harvard University, Milan Popovic, video artist, Belgrade, choreographers Dawn Kramer and Stephen Buck, Boston, composer/performer Ko Ishikawa, Japan and percussionist, Peter Negroponte, NYC.

Miljkovic moved to Boston in 1992. She is faculty at the New England Conservatory of Music since 1996 and the recipient of the Louis Krasner and Lawrence Lesser award for excellence in teaching.

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Nemanja Bjelica

Nemanja Bjelica (rođen 9. maja 1988. u Beogradu) je srpski košarkaš. Trenutno nastupa za Minesotu timbervulvse, a takođe je i standardan član košarkaške reprezentacije Srbije.

Primarna pozicija mu je krilo ali može da igra i po potrebi na pozicijama plejmejkera i krilnog centra. Godine 2009. bio je izabran za najboljeg sportistu Sportskog društva Crvene zvezde. Draftovan je 2010. godine u drugoj rundi NBA drafta. Proglašen je za najkorisnijeg igrača Evrolige 2015. godine, a ujedno je bio i član najbolje petorke ovog takmičenja.

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Jesus Christ Is The Same Yesterday Today And Unto the Ages

In this latest and, in every respect, meaningful study, Bishop Athanasius, in the manner of the Holy Fathers, and firmly relying upon the Apostles John and Paul, argues that the Old Testament name of God, “YHWH,” a revealed to Moses at Sinai, was translated by both Apostles (both being Hebrews) into the language of the New Testament in a completely original and articulate manner.  In this sense, they do not follow the Septuagint, in which the name, “YHWH,” appears together with the phrase “the one who is”, a word which is, in a certain sense, a philosophical-ontological translation (that term would undoubtedly become significant for the conversion of the Greeks in the Gospels).  The two Apostles, rather, translate this in a providential, historical-eschatological, i.e. in a specifically Christological sense.  Thus, John carries the word “YHWH” over with “the One Who Is, Who was and Who is to Come” (Rev. 1:8 & 22…), while for Paul “Jesus Christ is the Same Yesterday, Today and Unto the Ages” (Heb. 13:8).