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Shakhrisabz is, above all, associated with the Ak-Saray palace. Many amazing legends are linked with the history of the palace's construction. According to one of them, Timur began to think of building a magnificent edifice, summoned an architect and set out his objective. After listening to the ruler, the architect asked to be allowed into the state exchequer. When permission was granted, the craftsman started to make foundation blocks from clay mixed with gold in full view of Timur.
Seeing that the ruler remained impassive, he broke up the blocks and returned the gold to the exchequer. When Timur asked: "Why did you do that?" the architect replied: "So as to make sure of your determination to embark on constructing a building that requires vast expenditure." A second legend recounts that, after the main building work had been completed, Timur began to tell the craftsmen to hurry up and finish the decorative facing of the palace. But they were in no hurry to cover the building with majolica and mosaic. When the angry ruler ordered the chief architect to be brought before him, it emerged that had vanished after hanging a chain in the centre of the palace's main arch. Since no other craftsman of equal stature could be found, the building remained unfinished. Some time later, however, the architect suddenly appeared and, after making sure that the chain on the entrance arch was now considerably lower, embarked on decorating the building.
When Timur demanded an explanation of his strange flight and sudden reappearance, the architect replied: "I dared not disobey my sovereign's command, but I could not carry it out either. Stern punishment awaited me in either case, since such a majestic building had to settle and bed down firmly in the ground, otherwise all the decoration on it would be destroyed." The great ruler appreciated the craftsman's wisdom and resourcefulness.
The palace building in Shahrisabz took over a quarter of a century to construct. The Spanish ambassador, Ruy Gonzalez de Clavijo, who passed through Shahrisabz in 1404 on his way to the court of Timur in Samarkand, was astounded and charmed by the architectural miracle, and he left a detailed description of it, noting, however, that the splendid artistic decoration of the palace was still unfinished. The overall layout, scale and artistic appearance of Ak-Saray can be reconstituted from the descriptions of contemporaries and eyewitnesses, as well as from the results of archaeological excavation at the site. According to written accounts, the palace consisted of several stately, living or service quarters, grouped around separate courtyards.
The overall scale of the palace is impressive: the main courtyard alone, which has been reconstituted from the micro relief, was 120 - 125 m wide and 240 - 250 m long. The size of the other courtyards and of the outer perimeter of the palace has not been reconstructed owing to severe disturbance of the micro relief in the 15th - 16th centuries. Calculation of the proportions of the surviving elements of the site makes it fairly certain that the height of the main portal reached 70 m. It was topped by arched pinnacles (ko'ngra), while corner towers on a multifaceted pedestal were at least 80 m high. The main entrance portal was 50 m wide, and the arch had the largest span, 22.5 m, in Central Asia.
The architectural decor, featuring a wide variety of designs and colours, is particularly noteworthy in the artistic appearance of Ak-Saray. When using various techniques, however, the craftsmen bore in mind that the palace's main portal faced north, towards the capital, Samarkand. Given the poor light, the architects used only flat segmentation here and hence a continuous decorative treatment. The use of brick mosaic work, mainly dark and light blue in colour, forming large geometrical and epigraphic designs on a background of polished building brick, gives the portal a special softness of colour and an air of grand mystery.
The various mosaic and majolica work in the niche of the portal is particularly refined and highly coloured. The delicately executed ornamentation incorporates exquisite calligraphic inscriptions of mainly Koranic content, although secular ones are found too. In the midst of the decorative facing, an inscription has survived, giving the date of completion, 798 (1395 - 1396), and the name of the craftsman, Muhammad Yusuf Tebrizi (from the Azeri city of Tabriz). According to Clavijo, who visited Ak-Saray, "in this palace was a very long entrance and a very high portal, and by the entrance, to right and left, were brick arches covered with tiles painted with various designs. Beneath these arches was what looked like small rooms without doors, and the floor inside them was covered with tiles. This was done so that people could sit there when the king was present. Beyond this was another door and after that a large courtyard, paved with white slabs and surrounded by richly decorated galleries. In the middle of the courtyard was a large pool. The courtyard was some 300 paces wide, and it gave access to a large house, in which was a very high and wide door, decorated with gold, azure and tiles of very fine workmanship. In the middle, above the door, a lion was depicted, lying in the sun, and exactly the same picture was to be found at the edges. This was the device of the king of Samarkand. After this, the envoys were taken to look at the chamber that the king had appointed for sitting and feasting with his wives, very spacious and luxurious. Before it was a large garden with many shady and assorted fruit trees. Inside it were many pools and artfully sited meadows. By the entrance to this garden there was such a vast space that many people could have enjoyed themselves sitting there in the summertime beside the water and beneath the shade of the trees. The workmanship in the palace is so luxurious that, in order to describe everything well, one has to go and examine it a little at a time."
The Ak-Saray palace is a grandiose piece of civil architecture, and not just by Central Asian standards. Historical tradition ascribes the destruction of the majestic edifice to Abdullakhan, who, during one of the sieges of un-subdued Shahrisabz, is supposed to have ordered the splendid structures of Timur and his descendants to be demolished. Be that as it may, of the once luxurious royal palace only the pillars and part of the arch of the main portal remained by the second half of the 18th century.
Mary Ellen Gordon, Managing Director of Market Truths Limited talks about her research into what the characteristics of Second Life Residents are, and if people in Second Life are 'normal' From Aldon Huffhines via blogHUD.com
This three story u-shaped brick building is built to neighborhood scale but stands out importantly by virtue of its distinctive ornamentation. The dark tone of the brick sets off the white of the terra cotta ornament which is used in such a way that it resembles limestone. The brick is laid in Flemish bond and is enriched with accents of clinker bricks, soldier courses, and square terra cotta tiles. The building's corners are chamfered with brick. The roman arched windows of the base have 4-over-6 wood sash and are enlivened with terra cotta haunches. A flush terra cotta string course delineates the attic story which is characterized by rectangular windows, in sets of two and three, which have 4-over-4 wood sash. These windows are supported by stout columns with cushion capitals, in the Norman style. The flush cornice of terra cotta matches the string course. The whole composition is topped by a hipped terra cotta tile roof. The entry pavilion, at one end on the post street facade, is marked by a tiled gable. The entry itself is of roman arches with terra cotta haunches, matching the first story windows in color, but distinguished with moldings. The segmentation of the mass of the building into a "u" shape keeps the building to a residential neighborhood scale. The Eureka Benevolent Society was established in 1850 to provide supportive services for the Jewish community. It is claimed to be the "oldest social service agency west of the Mississippi". The organization purchased this site in 1930 and hired Samuel Lightener Hyman and Abraham Appleton to design the structure. It originally housed the Eureka Benevolent Society, the federation of Jewish charities, and the dental clinic of Mt. Zion hospital. At that time it provided social services to about 350 individuals or families. Currently (1996) projects and agencies housed in this building provide services to 35,000 people annually. Abraham Appleton (1892-1960?) OR (1887-1981) was educated in the beaux arts tradition at U.C. Berkeley. He had a successful practice in partnership with Samuel Lightner Hyman and together they provided architectural services to a number of prominent San Francisco Jewish families. He designed a number of familiar buildings which exhibit a wide range of styles, as well as private residences. Please see: the Jewish Community Center; the Crown Zellerbach building (343 Sansome Street) ; the Hall of Flowers in Golden Gate Park ; San Francisco Academy of Art; the Marina branch library; Sinai Memorial Chapel; Weinstein’s department store (Market Street).
Scott and Post Streets, NE corner
San Francisco
027
MARSYAS
Wood, wood mâché, brass, hemp, modeling paste, acrylic, colored pencil
app. 84"
STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."
Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:
"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."
Below is a transcription of the handwritten text on the sculpture pictured above:
This flaying, this cleaving of repeat...is this my birth or our death? Am I myth or history, beginning or end? Is this dread, this sleepless dream, my awakening? Held tight within the obtect pupa of fear, my wings stir with conviction. Only freedom can still this pain. I will not be contained. As I have always been, I will be no more. Only I can halt the entropy of repetition. My constancy is the triumph of myth. I am the cleaving force of the unexpected. Shorn of history, no linearity describes my purpose. My occurrence offers the chaos of possibility. Blinded by twilight, is there yet time for succession? The pain...the pain. As I split, or attempt to split, the restraints of conclusion, my liberation offers the exhilaration of chaos. Freed from necrophagous dogma. Free to become. Free to be. To excite my scream to the laughter of recognition. This is my purpose. I am Marsyas. This is my song. Myth is the contradiction of repeat, a segmentation of the collective linear into individual histories, an infinity of paradox and wonderment. Evolve or die. Only the middlesex of myth can save us from the inevitable conclusion of repeat. I have no history. Embrace me! I, only I, am our salvation. Do you fear me? Does my potency threaten your rituals of complacency? I am in you and of you.As I split the armored husk, my song leaps free: I am! I am! I am! Myth shifts the horizon centering the vanishing point within the mind’s perspective. Reality is the acceptance of Being. A simple song for those who find their voice. Does my audacity offend you? Do you find myth a child’s play? Tales to charm and horrify, cautionary fictions, naive artifacts of ancient superstition? Look inward. You have no defense against my wisdom. Only I can illustrate your authenticity. I exist when you exist. I mirror your progression. As I have always been, you are yet to be. I await your recognition. Do not fear me. Your pain is the tariff of freedom. Do not patronize me. Do not confuse my purpose. History is a catalogue of repeat. Generation after generation after generation, a choice is given: the time altering wisdom of myth or the relentless repetition of ritual, the shedding of resumption or the re-enforcement of prejudice, the exhilaration of segmentation or the narcosis of repetition. To be free, to be set free as Marsyas was set free, to rip oneself from the womb of repeat, to experience the light of myth is to assume the awesome power of self-creation. As I rise to intersect intractable repeat, I, the myth of Marsyas, await your recognition. As I challenged the god, you shall challenge the god, no matter the forfeit. It is the challenge that frees you. All pain dims in the light of self-creation. Embrace your pain. Marsyas! Embrace my dedication. There is only absence, the defeat of dogma. The interruption of repeat, the creation of the self.
Une problématique majeure en imagerie des tissus biologiques est le traitement d'image. Il faut réussir à quantifier pour pouvoir tirer des conclusions, et cela n'est pas toujours facile !
Les algorithmes d'apprentissage profond (ou Machine Learning) aident beaucoup les scientifiques à segmenter les images, c'est à dire à décomposer l'image en éléments indépendants, comme par exemple ici des noyaux de cellules, avant et après segmentation par le fabuleux logiciel #CellPose.
©Gabriel Le Goff - plateforme IMAG'IC, Institut Cochin/Inserm.licence CC-BY-NC 4.0 international
Source : doi.org/10.1038/s41592-020-01018-x
Indiana is a U.S. state located in the midwestern and Great Lakes regions of North America. Indiana is the 38th largest by area and the 16th most populous of the 50 United States. Indiana is the least extensive state in the contiguous United States west of the Appalachian Mountains. Its capital and largest city is Indianapolis. Indiana was admitted to the United States as the 19th U.S. state on December 11, 1816.
Before it became a territory, varying cultures of indigenous peoples and historic Native Americans inhabited Indiana for thousands of years. Since its founding as a territory, settlement patterns in Indiana have reflected regional cultural segmentation present in the Eastern United States; the state's northernmost tier was settled primarily by people from New England and New York, Central Indiana by migrants from the Mid-Atlantic states and from adjacent Ohio, and Southern Indiana by settlers from the Southern states, particularly Kentucky and Tennessee.
Indiana has a diverse economy with a gross state product of $298 billion in 2012. Indiana has several metropolitan areas with populations greater than 100,000 and a number of smaller industrial cities and towns. Indiana is home to several major sports teams and athletic events including the NFL's Indianapolis Colts, the NBA's Indiana Pacers, the WNBA’s Indiana Fever, and the Indianapolis 500 and Brickyard 400 motorsports races.
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Authors: Lina Espinha and Paula Fernandes
Date: April 2009
Description: Segmented model of the cervical spine extracted from CT images. Segmentation is the partitioning of an image volume into non-overlapping voxelized regions. Each region defines the geometric locus of an anatomical structure. As part of the geometric modeling process, segmentation is the turning point in anatomical representation: it establishes the transition from the supportive bi-dimensional image realm (image data) to a fully tri-dimensional domain (mesh data).
Source: Master thesis
Image and caption provided by: Paula Fernandes, IDMEC/IST-TU Lisbon
Cut-resistant gloves have extraordinary cut-resistant performance and wear-resistant performance, making them high-quality hand labor protection products. The service life of a pair of cut-resistant gloves is equivalent to 500 pairs of ordinary thread gloves, which can be called "one for one hundred". It can be widely used in meat segmentation, glass processing, metal processing, petrochemical, disaster relief, fire rescue and other industries.
Mine, Yours, Ours 2019
Filodrammatica Gallery, Rijeka
14th February, 2019
on view until 1st March, 2019 (Mon-Fri 5 - 8 pm)
Curated by Silvio Lorusso
Featured artists: Anxious to Make, Deconstructeam, Constant Dullaart, Maria Eichhorn, Sam Kidel, Alina Lupu, François Girard Meunier, Elisa Giardina Papa, Ottonie Von Roeder, Sebastian Schmieg and Jeff Thompson
Photo: Tanja Kanazir / Drugo more
Cut-resistant gloves have extraordinary cut-resistant performance and wear-resistant performance, making them high-quality hand labor protection products. The service life of a pair of cut-resistant gloves is equivalent to 500 pairs of ordinary thread gloves, which can be called "one for one hundred". It can be widely used in meat segmentation, glass processing, metal processing, petrochemical, disaster relief, fire rescue and other industries.
Senior Account Supervisor
Lisa approaches communications from a strategic marketing perspective. From research and target segmentation to ROI analysis, Lisa specializes in identifying the right message for the right people at the right time. Her experience spans a variety of industries, including healthcare, publishing and electric utilities. This self-proclaimed Vol for Life knew her future would lead to marketing when she started editing magazine ads and billboards as a child. B.A. Speech Communication, University of Tennessee.
InfoCepts- This Dashboard enables retailers to understand the probability a shopper will purchase one or more items, given a set of items previously purchased or in the shopping "basket". The dashboard is used to make decisions about Product Promotions, Placements and Product Displays, Store Segmentation, Customer Segmentation and Targeting. The major KPIs include No. of Baskets, % Support and % Confidence. The dashboard also provides Affinity analysis by Region, Department and Item. Click Here to check out our MicroStrategy Dashboards.
Elrathia trilobite. Mid-Cambrian, 550 million years old, from Utah. About 1cm long.
Segmentation is a form of pattern formation.
Read more about our Google Analytics segmentation and custom reporting on our blog: www.swellpath.com/2008/11/segmentation-and-custom-reporti...
20. November 2019, Jugendstilhörsaal der MedUni Wien
“Multiparametic Diagnostics and Theranostics of Tumors”
Fabian Kiessling, Universitätsklinikum Aachen
Abstract:
Significant advances have been achieved in elucidating molecular regulations of cancer and numerous disease-related markers were identified. Additionally, imaging technologies steadily improved and are providing detailed insight into tissues’ morphology, function and molecular regulation. However, there is still a need to identify and quantify the most relevant information and to bring it into a mechanistic context.
In the first part of my talk, I present advanced imaging strategies to characterize tumors by assessing various “hallmarks of cancer” using non-invasive imaging and to assess therapy responses. In this context, I will discuss novel computer applications to improve data processing, lesion detection and segmentation as well as radiomic image analysis. However, taking a study on hepatocellular carcinoma therapy with a multispecific tyrosine kinase inhibitor as an example, I will also show that correlative analyses do not always lead to correct conclusions on biological mechanisms and that the interconnection and impact of the observed changes need to be understood.
The second part of my talk will be dedicated to drug delivery. Here, I will show how imaging can be used to improve the preselection of patients to therapies and discuss the value of nanomedicines and active targeting. Furthermore, I will highlight the potential of ultrasound mediated theranostics to overcome biological barriers and to improve tumor perfusion.
(c) MedUni Wien / Kovic
Entry in category 3. Locations and instruments; Copyright: CC-BY-NC-ND: Oliver Biehlmaier
28mm; f/1.8;1/8s; ISO 100; iPhone8. Photoshop CC for edge detection filter.
Image of a live-cell imaging workstation, a spinning disk microscope, at the imaging core facility of the Biozentrum in Basel. Due to the spinning disk technology, this system enables confocal live-cell experiments with very little phototoxicity at very high framerates. Edge detection, a mathematical method commonly used in image analysis (e.g. segmentation) has been applied to the photo of the workstation to generate the specific look of this image.
This image combines the instrument of image acquisition, a microscope workstation, with a commonly used technique of image analysis, edge detection. Thus, the photo combines two main areas covered in our microscopy facility: image acquisition at the microscope and image analysis at the computer.
In the original Fujica "ST" lineup, the ST701 had always been a stopdown-metering model, but the ST801 had introduced a modification to the 42mm thread mount to offer open-aperture metering.
The ST601 had introduced a new budget-level tier, which would continue with stopdown metering. That and its more limited shutter-speed range would carry over to the ST605 announced here.
The ST705 remains differentiated from the ST801 by its lower, odd, 1/1500 top shutter speed, and its analog needle exposure display. However the ST705 does gain open-aperture metering, using the same proprietary Fujica M42 mount standard.
Caves Branch Jungle Lodge, Belize
September 2013
This specimen looks like a lady beetle (family Coccinellidae) at first glance. However, its tarsal segmentation does not appear to match. Lady beetles have four tarsal segments per foot (most insects have five) but have only three segments that are clearly visible. This specimen has four obvious tarsal segments per foot. Perhaps it's a leaf beetle (family Chrysomelidae) mimicking a lady beetle, as leaf beetles have four tarsal segments per foot. The benefit of mimicking a lady beetle is obvious: lady beetles tend to secrete a foul-smelling, foul-tasting substance when disturbed, so visual predators like birds learn to avoid eating anything that looks like a ladybug.
Majin Buu was one of the final villains introduced in the Dragonball Z series, and main reason for everyone powering up again. His most famous form in this arc is that of Innocent Buu, which is the pink blob.. which also appears to be his look when he's split up into Good Buu and Kid Buu.... anyway.
Despite his childlike appearance and behavior, he's one of the most horrific beings to ever exist (at that time, of course... everyone is always the worst thing ever when they're introduced), only held back as it were by some influence of a Grand Kai that was absorbed earlier in his existence. He's basically Kirby if he went rogue.
The character is of course represented in Figuarts form.
As the Dragonball releases general scale to each other, Buu is gigantic, not quite reaching Broly size, but pretty close, and dwarfs all of the other Z fighters. Being an extremely large figure, Buu is definitely more hollow as compared to his smaller peers, most notably in the body itself. Some of this is for the better, as that is where the guts of this articulation is hidden.
It's just unfortunate the younger generation will never know the joys of beating the shit out of your friends with 10 inch rubber WWF figures.
Buu comes with 3 heads, with I believe a bonus "Good Buu" head with the upcoming Kid Buu Figuarts. No stand and relatively few hands, but he does come with his trademark chocolate bar, which apparently if he's Innocent Buu is probably someone transformed into food, or if he's Good Buu it's literally a chocolate bar as he can't absorb people anymore.
All I know is he eats no matter where he goes.
In addition to the aforementioned, you will also notice he has his trademark purple cape, slightly poseable due to the segmentation. It's not as poseable as say, the Batman ones from Play Arts, but it also doesn't look anywhere as hideous so... winning?
Colours are nice and sharp, much like on Gotenks. I don't know how things are like on other Figuarts lines, but it does seem like Bandai has gotten their act together at least on the Dragonball stuff. Of course, given its premium status, it's kind of necessary.
Articulation is pretty good too. It's not quite Storm Collectibles Zangief good, but it's on part with Broly, meaning the only real thing missing is an upper chest joint. As mentioned, hollow cavities allow for joint placements that increase his range of movement. Of course, due to his size, the actual poses Buu can hold without additional support are kind of limited though I don't exactly recall him being a super limber kind of guy. A standard figure stand won't support him, so if you want to do any mid air posing, you're going to need to find something more robust, or get creative.
While they're all memorable characters, you got to admit in a line where more than half of them seem to basically be a bipedal humanoid with two arms that share the same workout routine, it's the aliens and other seemingly random characters that stick out on your shelves. Majin Buu is no exception - I think he makes a great accent piece in your Figuarts sized collection, regardless if its Dragonball or not.
Much like with Broly, Buu is large and in charge and is a great addition to your set, but I wouldn't go in expecting him to be a posing dynamo, which is usually the case with larger figures (except for Storm Zangief), though really I feel the only point missing would be an articulation point at the chest.
A useful guide on how sales professionals may use market segmentation to maximize their marketing efforts and identify potential prospects.
Cut-resistant gloves have extraordinary cut-resistant performance and wear-resistant performance, making them high-quality hand labor protection products. The service life of a pair of cut-resistant gloves is equivalent to 500 pairs of ordinary thread gloves, which can be called "one for one hundred". It can be widely used in meat segmentation, glass processing, metal processing, petrochemical, disaster relief, fire rescue and other industries.
Riffing off of Mark Boulton's "Add Content" screen, this mock allows for the possibility of multiple categories, as seen here www.flickr.com/photos/roprice/3571117022/
That's one thing that doesn't transfer over directly from WordPress.
InfoCepts- Market Basket Analysis (aka Affinity Analysis) is a data analysis technique used by Retailers to understand the mix of items shoppers purchase in single or multiple shopping events. It enables Retailers to understand the probability a shopper will purchase one or more items, given a set of items previously purchased or in the shopping "basket". This App is used by planners, merchandising teams and product teams. It helps them make decisions about promotions, displays and product placements, store segmentation, customer segmentation and targeting.
Jiyong Lee
"Red Cube Segmentation", 2012
cut, color laminated carved glass
8 x 8.5 x 8.25
Duane Reed Gallery
Entry in category 1. Object of study; Copyright CC-BY-NC-ND: Hanna Camenzind
These three images show the same clinical picture: a choroidal neovascularization in a retinal disease of the eye. Neovascularizations are new vessel formations, in this case from the choroid of the eye. In ophthalmology, these vascular neovascularizations are often seen for example in age-related macular degeneration. The vessels lead to damage of the retina. Treatment with anti-VEGF is indicated here, which induces the vessels to regress.
Imaging using the new "OCT Angiography" after precise segmentation allows real-life imaging of the choroidal neovascularisation.
Capturing data is at the core of almost all digital health companies, representing unprecedented opportunities. Presumably, health data enables powerful analytics. But how can health analytics directly grow your company beyond improving market segmentation, efficiencies and cost-effectiveness/benefit analyses?
As the consumer market becomes flooded with data and analytics, digital health will level the playing field between consumers and traditional stakeholders in healthcare. This critical master class will discuss how your company can lead digital health and turn transparency into value-add, actionable results to nurture engagement and trust among your ultimate customers – all of us, health consumers.
With over twenty years of experience in academic medicine and scientific research, Dr. Yao will share her vision of how scientific research, IT, and business processes can be integrated to move health analytics from being an efficiency-driver at best to the front line as product offerings to improve health. In her current role as CEO of Univfy, Dr. Yao has led both scientific and business fronts from founding of the company to the launch of health analytics on both consumer and business platforms to international and US customers.
Mylene Yao, MD, Co-founder and CEO,UNIVFY Inc. @MyleneYao
"http://summersummit.digitalhealthsummit.com/ - The Digital Health Summer Summit takes a deep dive into what it takes to build a successful digital health venture. It's a unique opportunity for entrepreneurs (and intrapreneurs) to hear industry veterans and key industry players share their lessons learned and best practices.
Official Hashtag: #DigiHealthSD
Digital Health Summit Website: bit.ly/DigitalHealthWebsite
Summer Summit Website: bit.ly/DigitalHealthSummer
Twitter: bit.ly/DigitalHealthTwitter
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Flickr: bit.ly/DigitalHealthFlickr
Linkedin: bit.ly/DigitalHealthLinkedIn
Facebook: bit.ly/DigitalHealthFB
Google+: bit.ly/DigitalHealthGPlus
Instagram: bit.ly/DigitalHealthInstagram
"
Scientific name: Fagus grandifolia
Common name: American Beech
Family: FAGACEAE
Image by Guangyou Hao (2013)
Guangyou Hao, Arnold Arboretum Putnam Fellow, is comparing Arboretum trees to identify differences between the capacity of their xylem to transport water and differences in responding to drought or cold stresses.
The tree trunk plays an important role in whole-plant water relations but it remains the least studied aspect of the plant water transport pathway. Recent work by Hao and colleagues (abstract) found that the trunk xylem vessels are as equally vulnerable to drought-induced cavitation as terminal branches; however, no significant cavitation occurs in the trunk xylem during the whole growth season. Thus large trees must have certain mechanisms to avoid cavitation in the trunk xylem, which may involve daily and long-term wood water storage dynamics in buffering high transpiration demands. Hydraulic segmentation between branches and leaves may also play an important role in avoiding cavitation in xylem of large stems and the main trunks of trees. To study these potential mechanisms, Hao and colleagues are measuring the water potential gradient across the trunk directly in the tree to estimate the relative contribution of water storage to daily water use and compare xylem vulnerability to cavitation in a different part of the hydraulic pathway.
(Further pictures you can see quite easily by clicking on the link at the end of page!)
Vienna 1, The Franciscan Church
The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.
He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.
1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.
When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.
The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.
But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.
The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.
A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...
The single-nave church has to both sides side chapels, of them I want to show two.
On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.
An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.
Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.
In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.
On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.
In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.
In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.
As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.
(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.
The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...
The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.
The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.
Clustering Analysis of Attitudes Towards Automated Vehicles
Supervisor Name: Dr. Matthias Sweet
Theme: Social Geography
Location: Greater Toronto and Hamilton Area
Sociodemographic effects on public acceptance of Automated vehicles (AVs) have been widely studied, mostly using regression-type analysis. This study offers a novel approach into studying said relationship, using clustering analysis, which has the potential to inform governments and policies of specific market segments that may be due for interventions in order to raise awareness of AVs.
The results of this study will help us determine the links between sociodemographic information such as age, sex and gender, and attitudes towards AVs, as well us provide with information regarding the practicality of using cluster analysis and identifying market segments for AV public opinion analysis.
20. November 2019, Jugendstilhörsaal der MedUni Wien
“Multiparametic Diagnostics and Theranostics of Tumors”
Fabian Kiessling, Universitätsklinikum Aachen
Abstract:
Significant advances have been achieved in elucidating molecular regulations of cancer and numerous disease-related markers were identified. Additionally, imaging technologies steadily improved and are providing detailed insight into tissues’ morphology, function and molecular regulation. However, there is still a need to identify and quantify the most relevant information and to bring it into a mechanistic context.
In the first part of my talk, I present advanced imaging strategies to characterize tumors by assessing various “hallmarks of cancer” using non-invasive imaging and to assess therapy responses. In this context, I will discuss novel computer applications to improve data processing, lesion detection and segmentation as well as radiomic image analysis. However, taking a study on hepatocellular carcinoma therapy with a multispecific tyrosine kinase inhibitor as an example, I will also show that correlative analyses do not always lead to correct conclusions on biological mechanisms and that the interconnection and impact of the observed changes need to be understood.
The second part of my talk will be dedicated to drug delivery. Here, I will show how imaging can be used to improve the preselection of patients to therapies and discuss the value of nanomedicines and active targeting. Furthermore, I will highlight the potential of ultrasound mediated theranostics to overcome biological barriers and to improve tumor perfusion.
(c) MedUni Wien / Kovic
MarketsandMarkets: Global Crop Protection Chemicals Market is growing at a CAGR of 5.3% and is expected to reach $58,433.0 Million by 2016
The report “Crop Protection Chemicals Market by Type (Herbicides, Fungicides, Insecticides, Bio-pesticides and Adjuvants), Geography, Price Trends and Global Forecasts (2011-2016)”, as the name suggests, defines and segments the global crop protection chemicals market with analysis and forecasting of the global revenue for pesticides (synthetic as well as bio-based), micro-nutrients, and adjuvants. It also identifies driving and restraining factors for the global crop protection chemicals market with analysis of trends, opportunities, and challenges. Major geographies such as North America, Europe, Asia-Pacific, Latin America, and Rest of the World (ROW) are taken into consideration. Raw materials, product types, and crop types also form the basis of segmentation and forecast.
Browse more than 140 market data tables/figures spread through 434 pages and in-depth TOC on “Crop Protection Chemicals Market by Type (Herbicides, Fungicides, Insecticides, Bio-pesticides and Adjuvants), Geography, Price Trends and Global Forecasts (2011-2016)”.
www.marketsandmarkets.com/Market-Reports/crop-protection-...
Early buyers will receive 10% customization on reports.
Crop protection chemicals are widely used across the globe. They are very useful in safeguarding the crops against various insects, diseases and pests. Pesticides are very important as they improve the quality and yield of agricultural produce. Based on applications, crop protection chemicals market can be bifurcated into three types; herbicides, insecticides, and fungicides.
The global crop protection chemicals market reached over $42,472.0 million by the end of 2010. Growing at a CAGR of 5.3%, it is expected to reach $58,433.0 million by 2016. Herbicide is the largest segment of pesticides market and it accounts for over 40% of market share. North America and Europe, especially countries such as the U.S., Germany, France, and Italy are the mature markets for crop protection chemicals. Latin America, especially Brazil and Argentina are expected to be high-growth markets for crop protection chemicals in the near future. Currently, it represents 17% share of the global pesticide market and is expected to reach $10,322.0 million by 2016.
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MarketsandMarkets Blog
Introduction
It has been nearly a decade since words like #social #media and #mobile apps were first introduced onto the scene, this was back in 2006 and 2007. Now it is 2017, and things are changing fast.
Innovative technology has changed so much that you have to wonder, what is next? We now use voice search. Alexa and Siri are now part of our daily lives, and 2018 is set to bring more changes under the voice search umbrella.
How Does This Affect SEO?
SEO is changing as well. You can no longer optimize your SEO for websites and mobile apps. You have to take everything you do to the next level. Do you remember when you had to translate some of your searches into a language you understand? We no longer have the need for translators. In fact, this function is gone.
We now have to re-invent the wheel with SEO.
1) Everything is done locally now. You have to go beyond your #business name and address. The more information you give, the better the query will pick it up and show your brand to potential customers.
2) Your reviews tell others what they need to know. Your brand has to be a 4-star brand or better. You need to find ways to get passed the written review and look for ways it can help you grow your brand.
3) Find out what #keywords will sell your brand the most and use them locally.
How Does Artificial Intelligence Help Market Your Brand?
1) You can use AI to gather all the information you need for your customers or potential customers. LEt the AI do the dirty work for you. AI will go into the social media platforms and do some digging.
2) You need to take your marketing from segmentation to personalization. Let AI do this. AI will take all the guesswork out of your research. You will have more success determining what your customers like and dislike. You will gain a better understanding of who your customer base is and why they are loyal to you.
3) AI will help you with your campaign strategies. AI will help you determine what strategies worked in the past and which ones did not. Artificial intelligence will pick up what each demographic requires, so you will not spend any unnecessary money where you do not need to.
How Does Augmented Reality Work In Your Marketing
1) You will get to tell your story. You will bring the #audience along for the ride. You will give them a sense of who you are and what you can do for them. Every brand needs a story. #Augmented-reality will help you tell yours.
2) Augmented reality will allow you put on a show. You can show a virtual show on your site. You can take them on a tour. You will get the chance to show them what makes you unique.
3) Augmented reality will bring the customer into your social media world. Give them an interactive menu and watch them go.
All the World is stage now. You need to play your part until the curtain goes down.
AtTask's Kevin Hayden and OpenView's Tien Anh Nguyen
Learn More about the Market Segmentation Forum: openviewpartners.com/event/market-segmentation-forum/>
Photo by Vicki Rogers
Some sandstone in the Santa Cruz Mountains have variable levels of calcium carbonate segmentation resulting is certain parts being softer than others. The heavy rainfalls in our mountains contain carbon dioxide from the air which seeps into the sandstone and dissolves the softer areas of calcium carbonate holding the sand grains in place. During our dry season (we do have a short one,) the calcium carbonate is drawn to the rock's surface forming a deposit that resists erosion. This leaves the uncemented sand below to crumble away. The resulting caves and honeycomb formations are called tafoni.
There are three areas in the Santa Cruz Mountains, all off of Skyline Boulevard (Highway 35,) that are particularly known for their tafoni. The most well known is at Castle Rock State Park. The sandstone here is hard enough that climbing is allowed and on 80-foot high sandstone outcropping is particularly popular.
Across Skyline Boulevard from Castle Rock in Sanborn County Park their is Summit Rock. With an elevation of 3076 feet you can take in the tafoni along with a nice panorama view of the Silicon Valley. On the down side, there is some graffiti on Summit Rock probable. The county parks just aren't as well policed as state parks and the hike is short enough that slobs can find their way to deface this natural beauty.
The third area of noted tafoni is located in the El Corte de Madera Creek Open Space Preserve between Highway 92 and Woodside Road at Skegg's Point Caltrans Rest Stop. The rock is only 2.5 mile hike from Highway 35. However, the bad guys haven't discovered this area yet so please only tell your responsible friends. There are 33 miles of multi-use trains within this 2,821-acre preserve. The preserve was established to protect the headwaters of the San Gregorio Creek watershed that is critical habitat for steelhead trout and coho salmon. Therefore, certain trails have been closed to the public to enable restoration. Failure of visitors to respect these closures could easily result in the entire preserve being closed to the public. The sandstone at El Corte de Madera Creek is softer and more fragile than at places such as Castle Rock and climbing is not allowed here. The up side of the rock being more fragile is that the tafoni is more spectacular. So, we highly recommend this preserve to our responsible flickr photographer friends. The light at the sandstone is very filtered and I really needed to carry a sturdier tripod (I normally just have a Trekpod) and a strong external flash for flash fill. Next time I'm bringing these items along.
(Further pictures you can see quite easily by clicking on the link at the end of page!)
Vienna 1, The Franciscan Church
The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.
He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.
1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.
When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.
The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.
But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.
The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.
A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...
The single-nave church has to both sides side chapels, of them I want to show two.
On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.
An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.
Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.
In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.
On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.
In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.
In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.
As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.
(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.
The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...
The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.
The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.
Better data is becoming available on economic activity within countries, often much exceeding the available information of economic activity across countries. This creates new research opportunities for testing economic theory, analyzing market structures and the sources of market segmentation, and making predictions of how economic shocks propagate across space. The aim of this conference is to bring together researchers from urban economics, industrial organization, health economics, and international trade to study production and trade within and across countries.
Customer care, labor union, life insurance, customer relationship management (CRM) and human resources concepts.
Employment verification is a fundamental part of recruitment process. Moreover, people still have questions as to – what is employment verification; how to get started; what will be its impact on a business; and how it is done. Let us introduce you the common facts about employment verification hoping to answer the above-listed queries people usually have. joerobsonfan.tumblr.com/post/171041644591/facts-about-emp...
"Unsupervised Object Discovery and Segmentation in Videos"
Samuel Shulter, Christian Leistner, Peter Roth and Horst Bischof
Day 3, Session 06. Wednesday 11th September
An Improved Alpha Matting Algoritm for Image Foreground Segmentation
GÉNIE ÉLECTRIQUE / ELECTRICAL ENGINEERING
(Further pictures you can see quite easily by clicking on the link at the end of page!)
Vienna 1, The Franciscan Church
The Franciscans go back to St. Francis of Assisi and thus the 13th Century. They were founded as a mendicant orders but soon the arose the question how literally one should take the declaration of poverty. Was it allowed to make financial provision for elderly or sick brothers? Finally it came to the segmentation of the faith community, the more liberal Minoriten (Friars Minor Conventual) made their own order, while the Franciscans followed the old conventions. 1453 came the first Franciscan, John of Capistrano, to Vienna.
He founded the first Franciscan monastery in what is now 6th District. But the monks had to flee when the Turks besieged Vienna in 1529 and the monastery burned down. It took until 1589 until the city of Vienna gave them the at that time vacant monastery together with appendant church. The house, in its place now stands the monastery had already been donated in 1306 by wealthy citizens - namely for "loose women" who wanted give up their trade and convert themselves.
1476 was at the Weichenburg (hence Weihburggasse) inaugurated a church with seven altars, where formerly a "Pfarrheusl (small parsonage)" had stood for the soul welfare of the female residents. At the time of the Reformation, however, moral values in this house went downhill. 1553, the Foundation was dissolved, but it took yet until 1572 before the last resident had died. For eight years, the building was then an educational establishment for girls of poor people.
When the Franciscans now had got the property, they started in 1603 with a reconstruction of the church, which was consecrated in 1611. 1614, the foundation stone was laid for the new monastery.
The statues on the west facade are left Francis of Assisi and Anthony of Padua right. In the middle, on the pediment of the west portal of the Church stands Jerome, protector of the church. He is surrounded by two angle putti.
But let's go inside the church. Maria with the ax is the altarpiece above the high altar. The statue was carved in 1505 from lime wood and has its own story. She comes from the Green Mountain (Grünberg) in Bohemia, which was under the control the Sternberg family. Since the family in the meantime had become Protestant, it wanted to burn the statue. She were thrown into the fire - but the next day she stood unharmed again in the chapel. Now, the executioner was called who should dismember the effigy. However, even that was impossible, because the ax stuck in the shoulder of Mary and it was not possible to get it out. There it is still today. (You have to look closely, but then you see the great ax with slightly curved stem.) But that's not enough. A few years later the Madonna was lost in the gamble by a gegenreformierten (counter-reformed) Sternberg. The new owner, the Polish Baron Turnoffsky gave she in 1607 the Franciscan monastery. Exactly 100 years later, she got her current stand on the high altar.
The stone structure between altar and the statue of the Madonna also contains a crucifix, which dates from the beginning of the 17th Century. The wooden statues left and right represent the Saints Jerome respectively Francis and are typical examples of the so-called Franciscan carving school. It operated 1690-1730 and was run by lay brothers. The overall concept for the high altar dates back to the Jesuit Andrea dal Pozzo.
A special attraction is the organ by Hans Wöckherl that was already built in 1642 and today is the oldest organ in Vienna. It is, however, disappeared from the visible church, because it is behind the high altar and is only shown every Friday between 15.00 und 15.30 clock. In addition, one demans for that six euro entry...
The single-nave church has to both sides side chapels, of them I want to show two.
On the left we see the Magdalene Chapel, which was consecrated already in 1614 for the first time. 1644 and 1722, however, followed Neustiftungen (new foundings). The stucco decoration stems from 1644. The paintings in the vault are much more recent, from 1893. The altarpiece depicts the grieving Mary Magdalene under the Cross. It was created in 1725 by Carlo Innocenzo Carlone. The image above shows Veronica's handkerchief with the face of Christ. It was painted by Wolfram Koeberl and in 1974 installed. The statues beside the altar represent the Virgin Mary and John the Baptist. The two above chapels are provided with food grid, so that one could give Communion here.
An Immaculata chapel (pictured above right) is there since the existence of the church, but this was rebuilt in 1722. Previously, since 1642, there was a Michael altar here. From this period dates still the stucco decor on the ceiling. The altarpiece is by Johann Georg Schmidt, who painted it in 1721. The lateral statues depict the Saint Joachim and the mother of Mary.
Also the Capistrano Chapel, which was founded in 1723, is worth mentioning. The lateral stucco decor shows on the left side (picture) the glorification of St. John Capistrano, who, as I said, was the first Franciscan in Vienna. Right you can see him as a standard-bearer of Christian doctrine in the wars against the Turks. Both stucco images date from the time of the foundation. The altarpiece by Franz Xaver Wagenschön originated in 1761 and shows Capistrano in a scene from 1451, in Brescia when he healed a possessed man.
In the picture we see also the statue of Saint George, as he is killing the (admittedly small) dragon.
On the other side of the chapel is the Holy Florian, while Clara and Theresa stand next to the altar. Behind the altar there is a reliquary in glass from about 1720, in which we see a wax image of the Holy Hilaria. The relic shall be imbedded in the wax. Hilaria is rather unknown, but she was a martyr who was converted by Bishop Narcissus. She died in the year 304 in Augsburg, at the behest of the governor Gaius, because she did not want to renounce the Christian faith. About the nature of death, there are different opinions.
In the church there is a plaque that claims that she was burned at the grave of her daughter, while the Holy Encyclopedia states that she was enclosed in her house and this was then set on fire.
In the chapel opposite, the Chapel of the Good Shepherd, there is also a glass coffin with a relic. This is the skeleton of the Felix Puer wearing the uniform of a Roman Centurion.
As a counterpart to the pulpit, this just opposite, you will find the monument of Johann Nepomuk. We see how he flows on the water of the Vltava river after he was thrown in Prague there. He actually was called "John from Nepomuk" in Czech "ne Pomuk". The wife of Emperor Wenceslas IV is said to have chosen him as confessor. The Emperor wanted to know then what she had confessed, but Johann Nepomuk did not betray the seal of confession and was therefore thrown into the water. The Empress had then an appearance of five stars.
(We see she also in the water of the monument.) These stars indicated were one could find the body. So much for the legend.
The fact is that Johann Nepomuk was tortured by the king and thrown into the Vltava. The activating moment was a dispute over a new monastery between the emperor and the archbishop of Prague, in which John Nepomuk was trampled underfoot ...
The pulpit was built in 1726 and was executed by the Franciscan carving school. At the parapet there are wooden reliefs of Matthew, Mark and Luke. The relief of the fourth evangelist, John, is attached to the pulpit door. At the parapet you further can see statues of Capistrano and Bonaventura, while on the sounding board are sitting Anthony of Padua and Berhardin of Siena. At the top stands the freeze image of Francis of Assisi.
The pews were 1727 - 1729 by brother Johann Gottfried Hartmann built and carved.