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(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.
Shakhrisabz is Timur's hometown, and once upon a time it probably put Samarkand itself in the shade.
Ak Saray, Shakhrisabz
Shahrisabz 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 microrelief, 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 microrelief 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 rchitects 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 foliate 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 unsubdued 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.
(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.
(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.
Photo by Echo Xie
Friday June 22, 2012 12:00pm - 1:30pm @ World Resources Institute (10 G St NE, Suite 800, Washington, DC 20002)
Most nonprofit organizations are making use of video as a communications tool, but not as many consider their long-term objectives with video. In a quickly evolving media landscape, a video communications strategy must include short- and long-term planning, audience identification and segmentation, and distribution strategies in order to get your organization's message to the right audiences. Join our panel as we explore best practices in the planning, creation and distribution of nonprofit video.
Lunch sandwiches will be provided by the organizer for the first 40 attendees who preregister online and bring their Eventbrite confirmation to the event.
Our panel will address the following topics:
How to use video as part of a larger communications campaign,
How to determine your audiences and the key issues that matter to them,
The benefits of establishing a long-term relationship with a videographer/editor and animator,
How to create a media file library,
How to allocate resources to use video as part of a long-term communications strategy,
How to create videos with "legs" (that will be picked up by other news sites, blogs, etc).
How to distribute video so as to build your audience,
How infographics and animation can add to your story,
...and more!
Panelists:
Kristen Milhollin (Moderator) - Co-Founder, The Goodspeaks Project
Ben Connors - Media Innovator and Visual Journalist
Will Carroll - Creative Director and Principal, Geoill; Organizer, DC Animation Group
Diane Sherman - Founder and Principal, Dianne Sherman Communications
Martha Dodge - Independent Visual Journalist, Still Photographer and Writer
Dave Cooper, Films and Brand Manager, World Resources Institute
Learn more: benevolentmedia.org/festival
Death Of The Critic, Moderator Joshua Errett with L-R Presenters Kevin Lee,Ben Rayner Norm Wilner and Jacquilynne Schlesier,NXNE INTERACTIVE © Linda Dawn Hammond / IndyFoto.com 2010 June 16, 2010, Hyatt Regency, Toronto Canada
Music, wine, food, movies – the Internet has democratized everything. Online, everyone has an equal voice and with a little web research, anyone can become an expert. So what do we need critics for? The age of Ebert, Christgau and Parker is over. What’s next?
Panelists
Kevin Lee is the East Coast Marketing Director for Yelp where he manages a team of local Community Managers, overseeing them in a wide range of marketing efforts across nine cities in the US and Canada. Based in New York, Kevin leads the charge on grassroots marketing efforts to foster and support passionate and vibrant local communities of consumers and business owners throughout the eastern seaboard.
Prior to joining Yelp, Kevin worked for Booz Allen Hamilton where he provided CRM technology consulting to federal and state-and-local agencies. Former client projects include an implementation of Oracle BI integrated with a Siebel enterprise case management system, and a customer segmentation strategy for a major NYC utility. Before entering management consulting, Kevin was a business intelligence program manager for AOL’s Access division’s business planning and reporting unit.
Kevin holds a B.S. in Industrial Engineering and Management Sciences from Northwestern University.
Jacquilynne Schlesier is the Community Manager for the Chowhound forums at CHOW.com. On Chowhound, part of the CBS Interactive network of sites, food-lovers from around the world gather to discuss and review local restaurants. A passionate diner and a not half-bad home cook, Jacquilynne was a regular poster on Chowhound, and then a volunteer moderator, long before her interest in the site became professional. She’s a member of four dining clubs and a virtually uncountable number of online communities, twin obsessions that made the job managing Chowhound a perfect fit. Based in Toronto, she manages the Chowhound Team, a group of dedicated volunteers from around the globe who ensure that the site remains friendly, honest and on-topic.
Ben Rayner has worked as one of the Toronto Star’s music critics since 1998. He’s passionate about Joy Division, The Simpsons, and the writings of Martin Amis. On the rare night he’s actually at home, you’re likely to find him hunched over his turntables mixing techno records for hours on end.
A lifelong Torontonian, Norman Wilner became the senior film writer for NOW Magazine in early 2008. Previously, he had reviewed films for Metro newspapers across Canada, and covered every video format imaginable (yes, even Beta) for the Toronto Star column from 1988 to 2006. His byline has appeared in Cinema Scope, Montage, Marquee and even The Hollywood Reporter that one time. In 2008, he was elected secretary and vice-president of the Toronto Film Critics Association; in 2009, he was a member of the features jury for Canada’s Top Ten. A member of the international film critics’ organization FIPRESCI, he’s sat on festival juries in Toronto, Montreal, London, Vienna and Palm Springs. He lives in Kensington Market, just a short walk from any of fourteen coffee shops.
Moderator
Joshua Errett currently edits NOW Magazine online (nowtoronto.com), one of Toronto’s most trafficked sites, and before that co-founded and edited the city’s first group blog, Torontoist (torontoist.com). He writes a weekly column in NOW magazine about online on-goings, and has spoken about the Internet on CBC, CP24, in the Globe & Mail, National Post and on a variety of panels. He likes romantic comedies from the 1980s and keeping people on their toes.
This is a Sacramentary leaf with Insular style decoration that was probably made in Northern Germany (the Rhineland) in the first half of the tenth century.
The text consists of prayers and Benedictions and ending with a Lection followed by a Benediction. The Texts are: -
A prayer at the fireplace “Omnipotens sempiterne deus cuius sapientia”;
A prayer entering the hall “Via secundum omnium Iesu Christi”;
A blessing of the fruit “Te deprecamur, omnipotens deus”;
A blessing of the trees “Deus qui huius arboris poma”;
Another blessing (could be a blessing of the salt) “ Sancte Domine creator omnium creaturarum”;
Another blessing (could be another blessing of the salt) “ Domine sancte pater omnipotems aeterne deus”;
A blessing of the soap “Summe deus qui ima et media summaque”;
First Lection of Feria IIII in the month of December, a Lection from the Prophet Isaiah “In diebus illis. Loqui est Ahaz dicens”; and
A blessing of the candles at the Purification of the Blessed Virgin Mary “Domine Deus omnipoieus qui hodierna die legalia sacrificia”.
There are 33 lines on the recto but only 29 on the verso (one line unwritten before the Lection and three lines unwritten at the bottom of the page) in a superb Carolingian minuscule in brown and with rubric in red rustic capitals.
The leaf is not illuminated but it is decorated.
There are nine large initials and whilst generally set against one line they are large enough to be classified as two-line initials. On the recto, the initials are: -
An “O” composed of outer and inner rings and segmentation all in dark brown with most of the segments in-filled in ochre.
A “V” in red, the left arm crenelated and the right arm partly in-filled in ochre.
A “T” outlined in dark brown and in-filled in orange.
A “D” outlined in red, the left side in-filled in ochre, a red line through the top and the remainder of the abbreviated word within the body of the initial.
An “S” outlined in dark brown in-filled at the terminals in the same colour and in the centre in orange.
On the verso the initials are: -
A “D” outlined and segmented in dark brown, the upper terminal crenelated and tipped with red, the centre segment of the bowl in-filled with ochre.
Three initials, “S”, “I”, and “D” in red.
ALL THE INITIALS ON THE RECTO AND THE TOP INITIAL “D” ON THE VERSO DISPLAY DISTINCT INSULAR INFLUENCES.
The overall size of the leaf is 300mm x 225mm (11 8/10ins. x 8 17/20ins.).
OVERALL CONDITION: -
The leaf has been used to cover a book. Because of this, the recto is clean and bright and most of the verso is quite dirty. There are two quite severe creases, one in the bottom margin and one towards the outside of the leaf about 1ins. into the text. There are some small holes within these creases and some letters are lost because of the vertical crease. There are some losses of vellum to the inside and outside margins as well as there being a large piece missing at the bottom outside corner.
GENERAL COMMENTS: -
Despite its condition, the problems of which are not too severe, this is a wonderful leaf to have in any collection. The script is quite superb and the Insular elements to the initials are very seldom found on manuscripts that are offered for sale. The nature of the prayers and blessings would indicate that the leaf is from a monastic manuscript. In reference material that is available to me, I have found only two items with initials in a similar style as here. One is a bifolium (Lot 8, Sotheby's June 1997) from St. Amand (on the border of Flanders and Artois) and dated to early ninth century which I think is too early for this leaf. The other is a Sacramentary leaf (Item 26, Bernard Quaritch, Catalogue 1147, 1991) from Belgium or the Rhineland and dated to mid-tenth century. Not only does this date seem more realistic than early ninth century but the formation of the letter”g” is the same on both my leaf and the Quaritch leaf. It is because of this that I have given this leaf the heading that I have.
(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.
Geotrichum candidum reproduces by segmentation of hyphae into arthrospores with straight or rounded ends as seen here with the GMS stain.
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_...
Thomas
Medek
He lives and works in
Brno
Info
His first sculptures created by Tomáš Medek still Studies ( Faculty of Fine Arts Brno , Vladimir Pretzel ) after 1992. They were bulky wooden cell structure in which it can enter and whose parts are movable . A series of roughly hewn beams called the author machines . In 1995 he discovered for himself Medek theme that the time for him to become fundamentally carrier : elementary cube shape . First comes a series called Multiplum S. In the small cube with dimensions of 16x16x16 cm fills Medek different structures , either constructive or chaotic . From there the path leads to more cubes , some of which are constructed from the scrum daily reality of real objects such as spoons , bottles or nails .
After 2000 , the structure Medkových sculptures easing into amorphous shapes and objects to penetrate organic shapes inspired by the plant world. This author series called Nature ( bio) Insights . The default theme - peppers, pumpkins , Patissons , banana , mussels , macrostructure seeds and pollen grains are abstracted into complex shapes with rib structure , which is inspired triangular or square spatial networks of computer 3D technologies. From there it was only a step towards actual computer sculpture : Since 2005, some objects are direct 3D computer printouts , made from ABS plastic or plaster composite . The scanned data objects transferred author to your computer , where he works with a variety of cuts or objects deforms and perforates constructs a new internal structure , which then have them printed on a 3D printer in the above-mentioned material.
Other Medek structures are created " by hand" according to computer drawings. The material remains the wood , but also appears marble , bronze and artificial stone Corian, which compared to conventional stone or marble enables a structurally complex and internally developed more objects. The internal structure is important for Medek . " Purposefully seek scientific materials , inspires me chaos in molecules that loves , growth processes , the crystalline lattice and repetition, which in nature is never return the same ," says the author , adding, " The internal structure attracts me , because he has a statue just outside plastic, so it seems to me that the statement is less . for me it is revealing another dimension to explore options to look inside where you can place something more than just the surface . "
Since 2000 Medek also creates geometric sculptures called Tangle / Untangle , designed in the shape of the segments quarter or one-sixth of a circle. By linking them into a whole, a plethora of variations knotted shape. So far, the biggest success of this series was the realization in Reims in 2008 , where the author won the international competition for the realization of public space. The statue called Ouroboros has to Medek typical circular, spiral shape , which previously appeared in the wood , this time it is discussed in steel. The statue is based on the archetypal image snake swallow its own tail , which is one of the oldest mystical , philosophical and religious symbols in the world . The idea of a cycle , eternity , soul, world , infinite unity of all things, the cycle of birth and death. For this object - like for all Medek projects - is characterized by structural segmentation . The author's interest in purely formal morphological workability here affiliated with generally applicable , the eternal theme .
Since 1998 Tomáš Medek at the Faculty of Fine Arts at VUT Brno Sculpture Studio I. Michael Gabriel. Here - as one of the pioneers - apply their experience and knowledge in the field of 3D technology. Recently , he also graphics : created large digital prints on canvas, which are - like the author objects - form structures inspired by 3D computer technology.
Some sandstone in the Santa Cruz Mountains have variable levels of calcium carbonate segmentation resulting in 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 one 80-foot high sandstone outcropping is particularly popular.
Across Skyline Boulevard from Castle Rock in Sanborn County Park there is Summit Rock. With an elevation of 3076 feet you can take in the tafoni along with a nice panoramic view of the Silicon Valley. On the down side, there is some graffiti on Summit Rock . 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 the Skegg's Point Caltrans Rest Stop. The rock is only a 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.
Maid[e]in Scotchland - Designing Whisky Conversations
THESIS QUESTION : How can the existing branding/marketing strategies of the Single Malt Whisky industry be developed towards the Scottish female market?
This project aims to critically analyse the marketing and branding strategies of the single malt industry towards the emerging female market. The project is geared towards studying the different dimensions of female consumer stimulants in relation to the Single Malt and its brand relevance among the women of Scotland. It aims to find a blue ocean market strategy or a soft point that can balance the brand attributes of single Malts and the needs of the female audience.
While companies are taking a very objective look at the new female market and focussing on product modifications, my project looks at the users and their intrinsic needs and expectations to build an experience lead engagement with Single Malts.
The past few years has seen an increase in the number of women choosing whisky, which has long since been a man’s drink, as the spirit of their choice. This drift has been attributed to the change in the social and financial dynamics in the female sector as more and more women are finding their way into the work force and becoming financially independent. The result is that they are embodying new products and are looking for indulgence, often in products that have traditionally been off-limits due to the social and marketing stereotypes around them.
the whisky industry is looking to find ways to effectively attract this new and little researched market, the scotch industry, especially Single Malts in Scotland are finding it difficult to reach the women due to various other issues like social stigma, stereotyping, ill-informed marketing messages and a lack of exposure which is keeping women away from the product. While big brands like Chivas Regal are still researching on this potential new market, it is a great opportunity to study the various marketing dimensions and purchase behaviours to create a blue ocean marketing strategy.
Through this project I aim to build a sustainable micro marketing model for the Sing malt industry which they can use by utilising existing resources to build a more female inclusive atmosphere. This project is aimed towards building an experience around whisky for new female consumers. At the end of this project I aim develop a connoisseur whisky experience involving designed conversations geared towards building a system of appreciating Single Malts through shared experiences. Insights gartered suggests that placing complimentary products that the user can easily relate to alongside whisky can take its intimidation factor among women away. As such, the project uses food as a tool to build an all round taste experience.
The proposed solution; Maid[e]in Scotchland tastings, is designing a whisky tasting experience through shared conversations that focus on developing whisky experiences combined with emotional connect and sensory stimulus . The aim is to promote unified whisky appreciation rather than segmentation.
Use of paper texture, leaf texture, GMIC segmentation (fine and coarse layers selectively masked together), GIMP layers, masks and brushes.
Textures from cgtextures.com
Panel and visual segment boundaries in Vampire Knight issue 1, pages 12, 26, and 35. Some challenges to segmentation include complex edges from crossing elements (hand, left page), foreground images that function as free-floating panels (girl, middle page), ambiguous unbounded borders (right page, top), and panels with multiple potential borders or ambiguously captured spaces (right page, center-left small panel).
(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.
(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.
The kit and its assembly:
This is in fact the second Kikka I have built, and this time it’s a two-seater from AZ Models – actually the trainer boxing, but converted into a personal night fighter interpretation. The AZ Models kit is a simple affair, but that's also its problem. In the box things look quite good, detail level is on par with a classic Matchbox kit. But unlike a Matchbox kit, the AZ Models offering does not go together well. I had to fight everywhere with poor fit, lack of locator pins, ejection marks - anything a short run model kit can throw at you! Thanks to the experience with the single-seater kit some time ago, things did not become too traumatic, but it’s still not a kit for beginners. What worked surprisingly well was the IP canopy, though, which I cut into five sections for an optional open display – even though I am not certain if the kit’s designers had put some brain into their work because the canopy’s segmentation becomes more and more dubious the further you go backwards.
The only personal mods is a slightly changed armament, with one nose gun deleted and faired over with a piece of styrene sheet, while the leftover gun was mounted obliquely onto the left flank. I initially considered a position behind the canopy but rejected this because of CoG reasons. Then I planned to mount it directly behind the 2nd seat, so that the barrel would protrude through the canopy, but this appeared unrealistic because the (utterly tiny) sliding canopy for the rear crewman could not have been opened anymore? Finally, I settled for an offset position in the aircraft’s flanks, partly inspired by “Schräge Musik” arrangements on some German Fw 190 night fighters.
The antennae come from a Jadar Model PE set for Italeri’s Me 210s, turning it either into a night fighter or a naval surveillance aircraft.
The Geographic-Demographic-Technographic Graph of Vietnam
It's a part of social media ecosystem
Go to my blog for more information
socialmediachannel.blogspot.com/
Source: Statistics Documentation Centre - General Statistics Office Of Vietnam
Thomas
Medek
He lives and works in
Brno
Info
His first sculptures created by Tomáš Medek still Studies ( Faculty of Fine Arts Brno , Vladimir Pretzel ) after 1992. They were bulky wooden cell structure in which it can enter and whose parts are movable . A series of roughly hewn beams called the author machines . In 1995 he discovered for himself Medek theme that the time for him to become fundamentally carrier : elementary cube shape . First comes a series called Multiplum S. In the small cube with dimensions of 16x16x16 cm fills Medek different structures , either constructive or chaotic . From there the path leads to more cubes , some of which are constructed from the scrum daily reality of real objects such as spoons , bottles or nails .
After 2000 , the structure Medkových sculptures easing into amorphous shapes and objects to penetrate organic shapes inspired by the plant world. This author series called Nature ( bio) Insights . The default theme - peppers, pumpkins , Patissons , banana , mussels , macrostructure seeds and pollen grains are abstracted into complex shapes with rib structure , which is inspired triangular or square spatial networks of computer 3D technologies. From there it was only a step towards actual computer sculpture : Since 2005, some objects are direct 3D computer printouts , made from ABS plastic or plaster composite . The scanned data objects transferred author to your computer , where he works with a variety of cuts or objects deforms and perforates constructs a new internal structure , which then have them printed on a 3D printer in the above-mentioned material.
Other Medek structures are created " by hand" according to computer drawings. The material remains the wood , but also appears marble , bronze and artificial stone Corian, which compared to conventional stone or marble enables a structurally complex and internally developed more objects. The internal structure is important for Medek . " Purposefully seek scientific materials , inspires me chaos in molecules that loves , growth processes , the crystalline lattice and repetition, which in nature is never return the same ," says the author , adding, " The internal structure attracts me , because he has a statue just outside plastic, so it seems to me that the statement is less . for me it is revealing another dimension to explore options to look inside where you can place something more than just the surface . "
Since 2000 Medek also creates geometric sculptures called Tangle / Untangle , designed in the shape of the segments quarter or one-sixth of a circle. By linking them into a whole, a plethora of variations knotted shape. So far, the biggest success of this series was the realization in Reims in 2008 , where the author won the international competition for the realization of public space. The statue called Ouroboros has to Medek typical circular, spiral shape , which previously appeared in the wood , this time it is discussed in steel. The statue is based on the archetypal image snake swallow its own tail , which is one of the oldest mystical , philosophical and religious symbols in the world . The idea of a cycle , eternity , soul, world , infinite unity of all things, the cycle of birth and death. For this object - like for all Medek projects - is characterized by structural segmentation . The author's interest in purely formal morphological workability here affiliated with generally applicable , the eternal theme .
Since 1998 Tomáš Medek at the Faculty of Fine Arts at VUT Brno Sculpture Studio I. Michael Gabriel. Here - as one of the pioneers - apply their experience and knowledge in the field of 3D technology. Recently , he also graphics : created large digital prints on canvas, which are - like the author objects - form structures inspired by 3D computer technology.
Cikuan Bra fishtail wedding, suffused with a soft sheen satin belt with good visual segmentation add layering, simple fishtail skirt lined sketched out the bride graceful posture, nestled in the tissue, akinds of the looming beauty, particularly sultry.
Cikuan Bra fishtail wedding, suffused with a soft sheen satin belt with good visual segmentation add layering, simple fishtail skirt lined sketched out the bride graceful posture, nestled in the tissue, akinds of the looming beauty, particularly sultry.
The Haceb heating line was designed by the design team of which I took part while I was doing my internship, and was under the direction of the designer Luis Fernando Quintero.
The task consisted of the development of 3 different lines focused in the principal user segmentation of the company, which takes the following names: Arezzo, Assento and Appiani.
In each line we had to design all the elements , such as the range, knobs, grid, etc. The design was focused on the current trends and its possible manufacture.
The entire process started from the ideation and ended with a prototype and a printed catalogue.
Design team:
Luis Fernando Quintero.
Lucar Restrepo.
Alejandra Calle.
Paula Cardenas.
Juan Carlos Arbeláez.
Alejandra Vela.
Jorge Urrego.
See more here:
Pensar en píxeles tiene muchas ventajas.
Una empresa es realmente exitosa cuando comercializa productos de bajo o nulo impacto ambiental, aporta valores y beneficios a la sociedad y la cuenta de resultados está en verde.
Internet es el mejor aliado.
1º CREATIVIDAD + 2º DESARROLLO WEB + 3º COMUNICACIÓN 2.0 + 4º VENTAS ONLINE
Principales ventajas
- Internet es el medio que más crece
- Tiene una notable cobertura
- Permite gran segmentación
- Se puede personalizar
- Es interactivo
- Permite integrar vídeo, audio, texto y fotos
- Gran capacidad de branding
- Es un escaparate virtual 24/7/365
- Es un canal de información, venta y distribución
- Es asequible para PYMES
- Se puede hacer seguimiento, reporting y análisis en tiempo real
Thinking in pixels has many advantages.
A company is really successful when it commercializes products which have low or zero environmental impact, which bring values and benefits to society and the account of results is in green.
Internet is the best ally
1º CREATIVITY + 2º WEB DESIGN + 3º COMMUNICATION 2.0 + 4º ONLINE SALES
Primary advantages
- Internet is the fastest growing media
- It has notable coverage
- Allows for large degree of segmentation
- Can be personalized
- It’s interactive
- Allows integration of video, audio, text and photos
- Great capacity for branding
- It’s a shop window 7/24/365
- It’s a channel of information, sales and distribution
- It’s economically reasonable for small to medium companies
- Following, reporting and analysis in real time
Cikuan Bra fishtail wedding, suffused with a soft sheen satin belt with good visual segmentation add layering, simple fishtail skirt lined sketched out the bride graceful posture, nestled in the tissue, akinds of the looming beauty, particularly sultry.
The kit and its assembly:
This is in fact the second Kikka I have built, and this time it’s a two-seater from AZ Models – actually the trainer boxing, but converted into a personal night fighter interpretation. The AZ Models kit is a simple affair, but that's also its problem. In the box things look quite good, detail level is on par with a classic Matchbox kit. But unlike a Matchbox kit, the AZ Models offering does not go together well. I had to fight everywhere with poor fit, lack of locator pins, ejection marks - anything a short run model kit can throw at you! Thanks to the experience with the single-seater kit some time ago, things did not become too traumatic, but it’s still not a kit for beginners. What worked surprisingly well was the IP canopy, though, which I cut into five sections for an optional open display – even though I am not certain if the kit’s designers had put some brain into their work because the canopy’s segmentation becomes more and more dubious the further you go backwards.
The only personal mods is a slightly changed armament, with one nose gun deleted and faired over with a piece of styrene sheet, while the leftover gun was mounted obliquely onto the left flank. I initially considered a position behind the canopy but rejected this because of CoG reasons. Then I planned to mount it directly behind the 2nd seat, so that the barrel would protrude through the canopy, but this appeared unrealistic because the (utterly tiny) sliding canopy for the rear crewman could not have been opened anymore? Finally, I settled for an offset position in the aircraft’s flanks, partly inspired by “Schräge Musik” arrangements on some German Fw 190 night fighters.
The antennae come from a Jadar Model PE set for Italeri’s Me 210s, turning it either into a night fighter or a naval surveillance aircraft.
A colony of Geotrichum candidum stained with GMS. This fungus reproduces by segmentation of hyphae into arthrospores with straight or rounded ends.
Mirror's Edge (PC, 2009) - created by DICE
Panorama of the Ryding Park subway station from chapter 04 (Ropeburn), stereographic projection, nadir view with a little nudge to get the blue/white segmentation.
The full 360x180 panorama (equirectangular projection) can be found here incl. interactive view.
360x180 panorama, 48 frames at 2560x1440, fov 90, stitched with Hugin.
In-game virtual camera with invisible tripod and panoramic head (FlyCam, FoV, TimeStop) via Unreal Engine 3 INI config.
Shutter via SweetFx.
Image enhancements (SGSSAA) via NVidia Inspector.
Bravery is the one on the left, Strength is the one on the right. Naturally bravery and strength spend their summer holiday with Grizzly (actually Kontio in Finnish but it is untranslatable).
These are Finnish icebreakers that still are spending their summer breaks in the Katajanokka. I recall that they will move away from there soon and start to spend their holidays in some other location.
For those who do not know the whole coast of Finland gets frozen regularly during the winter months and in the outer sea the ice can pack to walls that are several meters high. These breakers are built to help commercial ships in those ice conditions and they are the backbone of Finnish commerce during winter months.
I did this image specifically so that I can make a more refined tutorial. I also wanted to use GMic as much as possible in the hope that a GMic filter/preset might be possible.
Gimp Layer stack is:
11: Signature
10: BW Sketch, masked manually (16)
9: CopyVisible copy (Hard Light 100)
8: [G'MIC] Black & White : From BW Alpha channel removed (100)
7: [G'MIC] Plasma : -gimp_plasma 0.521311,10 copy, alpha channel removed manually (100)
6: [G'MIC] Plasma : -gimp_plasma 0.521311,10 (100)
5: CopyVisible (100)
4: [G'MIC] Painting : -gimp_painting 1,4,1.5,600,1,0 (31)
3: [G'MIC] Segmentation : -gimp_segment_watershed 12,0.5,0,0 (53)
2: Wavelet scale 1 (0)
2: Wavelet scale 2 (0)
2: Wavelet scale 3 (47)
2: Wavelet scale 4 (74)
2:: Wavelet scale 5 (88)
2: Wavelet residual (100)
1: Fattal HDR: pregamma_1_fattal_alpha_1_beta_0.9_saturation_0.8_noiseredux_1.jpg (100)
Short explanation
1: Use Fattal tonemapped HDR as base image. Values are defaults except the noise reduction has been increased to maximum.
2: Use wavelet decompose on the fattal image.
3. Use GMic segmentation on the wavelet residual layer. Set output to new layer.
4. Use GMic painting on the Fattal layer. Set output to new layer.
5. Set opacities to your liking. Number in the parenthesis is the opacity I used.
6. Copy visible pixels and paste visible pixels. Colors are now ready.
7. To get paper use GMic Plasma. Set output to new layer.
8. Duplicate Plasma layer
9. Remove alpha channel from plasma
10. Duplicate layer created on step 9
11: Add sketch if desired.
.xcf is available from ubuntuone.com/p/1EwE/
It includes all steps up until the signature
Most of my pictures are free for you to use under CC license including all educational uses. How ever they are not yours to steal under Finnish Copyright Society Digilupa bit.ly/ozwGtt or any corresponding license.
Gartner analysts will further discuss supply chain segmentation and planning at the Gartner Supply Chain Executive Conference 2014, 10-11 September in London. More at www.gartner.com/technology/summits/emea/supply-chain/
The kit and its assembly:
This is in fact the second Kikka I have built, and this time it’s a two-seater from AZ Models – actually the trainer boxing, but converted into a personal night fighter interpretation. The AZ Models kit is a simple affair, but that's also its problem. In the box things look quite good, detail level is on par with a classic Matchbox kit. But unlike a Matchbox kit, the AZ Models offering does not go together well. I had to fight everywhere with poor fit, lack of locator pins, ejection marks - anything a short run model kit can throw at you! Thanks to the experience with the single-seater kit some time ago, things did not become too traumatic, but it’s still not a kit for beginners. What worked surprisingly well was the IP canopy, though, which I cut into five sections for an optional open display – even though I am not certain if the kit’s designers had put some brain into their work because the canopy’s segmentation becomes more and more dubious the further you go backwards.
The only personal mods is a slightly changed armament, with one nose gun deleted and faired over with a piece of styrene sheet, while the leftover gun was mounted obliquely onto the left flank. I initially considered a position behind the canopy but rejected this because of CoG reasons. Then I planned to mount it directly behind the 2nd seat, so that the barrel would protrude through the canopy, but this appeared unrealistic because the (utterly tiny) sliding canopy for the rear crewman could not have been opened anymore? Finally, I settled for an offset position in the aircraft’s flanks, partly inspired by “Schräge Musik” arrangements on some German Fw 190 night fighters.
The antennae come from a Jadar Model PE set for Italeri’s Me 210s, turning it either into a night fighter or a naval surveillance aircraft.
Target audience (marketing) concept. Businessman think about target audience and customers. Wide composition, office in background.
NICTA - Victorian Research Laboratory (WVGA Imager)
The simple task of deciding what door to enter!
Image segmentation (Recognition) engines operating on a FPGA allows simple multi image registration in blocks (sets) of 32 images, indicating frame-by-frame match probability with X-Y image position coordinates.
InfoCepts- Market Basket Analysis (aka Affinity Analysis) is a data analysis technique used by Retailers, planners, merchandising teams and product teams to understand the mix of items shoppers purchase in single or multiple shopping events. It helps to make decisions about promotions, displays, product placements, store segmentation, customer segmentation and targeting. Click Here to Download our Dashboard!
The kit and its assembly:
This is in fact the second Kikka I have built, and this time it’s a two-seater from AZ Models – actually the trainer boxing, but converted into a personal night fighter interpretation. The AZ Models kit is a simple affair, but that's also its problem. In the box things look quite good, detail level is on par with a classic Matchbox kit. But unlike a Matchbox kit, the AZ Models offering does not go together well. I had to fight everywhere with poor fit, lack of locator pins, ejection marks - anything a short run model kit can throw at you! Thanks to the experience with the single-seater kit some time ago, things did not become too traumatic, but it’s still not a kit for beginners. What worked surprisingly well was the IP canopy, though, which I cut into five sections for an optional open display – even though I am not certain if the kit’s designers had put some brain into their work because the canopy’s segmentation becomes more and more dubious the further you go backwards.
The only personal mods is a slightly changed armament, with one nose gun deleted and faired over with a piece of styrene sheet, while the leftover gun was mounted obliquely onto the left flank. I initially considered a position behind the canopy but rejected this because of CoG reasons. Then I planned to mount it directly behind the 2nd seat, so that the barrel would protrude through the canopy, but this appeared unrealistic because the (utterly tiny) sliding canopy for the rear crewman could not have been opened anymore? Finally, I settled for an offset position in the aircraft’s flanks, partly inspired by “Schräge Musik” arrangements on some German Fw 190 night fighters.
The antennae come from a Jadar Model PE set for Italeri’s Me 210s, turning it either into a night fighter or a naval surveillance aircraft.
Common garden snail
Ever notice that snails only come out after it has rained, I did. I have heard that it is a fact but I do know that the ground is always wet before the come out. Did a little digging to find out at CSIRO www.ento.csiro.au/education/allies/gastropoda.html but I am still non the wiser.
All I do know about them is that they eat my seedlings, leave the weeds, and taste really nice cooked in garlic butter.
If you don't want to load another link here is a part quote from the CSIRO website:
"Slugs and snails belong to a larger group (or Phylum) known as the Mollusca. Molluscs come in many different forms but are predominantly categorised as soft-bodied animals without body segmentation that often have an external shell made of calcareous material.
Snails and slugs are known as gastropods, which mean 'stomach foot'. This describes the way in which the body and internal organs of slugs and snails has been twisted back so that the stomach lies above the large fleshy foot of these animals. The head is at one end of this foot the snail or slug moves by gliding along a surface of mucus or slime that is produced from glands on the foot. All gastropods have a well-developed head with eyes and 1-2 pairs of tentacles.
Life Cycle
Most gastropods are hermaphrodites, which means that each animal has both male and female reproductive organs in the same body. When two individuals snails or slugs meet they exchange bundles of sperm, usually via a dart into the tissue of the other. Eggs are then usually laid in crevices in the soil or under rocks, while some species may give birth to live young.
Feeding
Most gastropods are herbivores and scavengers feeding on fungi, dead animal material and plant matter such as leaves, stems, bulbs and algae. A few are carnivorous and may prey on other snails. All gastropods feed by using a radula, which is a tongue-like structure covered by rows of rasping teeth.
........End of quote
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This picture shows the composite of two volume renderings of a torso CT scan. Volume rendering generates a two-dimensional picture of a three-dimensional image by tracing rays through the volume. By specifying the colour and transparency related to the intensities in the CT scan, volume rendering allows us to show the different tissue types as solid organs. On the left we can see the skeletal and muscle fibre structures. On the right we can see the skeletal structure with the internal organs such as the kidneys, the spleen and the liver, which is visualized transparently showing the internal arteries. Along the spinal column we can distinguish the aorta which splits into the iliac arteries. Volume rendering is an important non-invasive tool for the navigation of the internal body, which can aid in the diagnosis of pathologies and the preoperative planning of surgical procedures. At the Department of Engineering we are currently involved in muscular skeletal modelling and orthopaedic image analysis from CT scans, whereby we use volume rendering for an initial interpretation of the scans. To generate this picture an implementation of the Visualization Toolkit (VTK) volume rendering was used while some preprocessing was done on the CT scan using the Insight Segmentation and Registration Toolkit (ITK).