View allAll Photos Tagged segmentation
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).
Sahit Muja President and CEO, Albanian Minerals
I am a President and CEO with knowledge of the entire supply chain from mine to the global markets.
A visionary CEO who set up and ran a world class mining and trading company.
An accomplished executive with experience in managing business, mining, manufacturing, trading and commercializing high value products.
A strategic marketer with the ability to influence top executives and global markets .
Leader of high-performing cross-cultural project teams in business development activities. Experience with JV, B2B, due diligence and M&A.
Proven Success with Albanian Minerals:
Creating Albanian Minerals mining and mineral treading company with billion's of dollars in assets.
Creating, finding and negotiating business opportunities for Albanian Minerals.
Adding huge value to the Albanian Minerals, new businesses as well as are Joint Ventures.
Operating mines and restructuring complex businesses. Developing sales of mineral products.
Designing and implementing logistics and manufacturing strategies.
Installing key performance indicators and best demonstrated practice tools.
Managing exploration and mining of world-class mineral deposits.
I am a natural leader a survivor, and a active person. I have a deep love for knowledge and enjoy learning something new every day.
My interests vary from politics and philosophy to science and technology.
I am a very good listener, very open-minded.
I am inspiring, result-oriented, powerful, ambitious, visionary, generous, perseve, focus, honest, forgiving, broad-minded, money-conscious and self-disciplined.
SpecialtiesI am Fluent in English, Albanian, Turkish, Spanish, Italian, French and Greek languages .
I have a experience in entrepreneurship, business development, mining exploration, infrastructure development, mining operations, mineral processing, plant management, project management, sales, marketing, technical services, market segmentation, logistics, due diligence, joint ventures, M&A, B2B, strategic alliances, business intelligence, coaching and mentoring, general management, strategic planning.
Riffing off of Mark Boulton's "Add Content" screen, this mock allows for the possibility of multiple categories, as seen here www.flickr.com/photos/roprice/3571117022/
That's one thing that doesn't transfer over directly from WordPress.
Intlock Ltd., established in 2005, is the leading provider of cross-platform portal analytic solutions that uniquely address today's market needs. Intlock develops, markets and integrates CardioLog – the company's flagship product, enabling a full range of portal analytics solutions. CardioLog further provides unique insights that ensure that a portal's success is quantified and fits with the corporate goals. Helmed by a team whose members have a vast experience in the corporate, enterprise and entrepreneurship arenas, Intlock's management has led software ventures with a proven contribution to the market understanding and customer know-how. Intlock's R&D Department is comprised of seasoned experts in application development, Knowledge Management and Enterprise Portals.
Why choose CardioLog over other web analytics tools?
** Enterprise analytics solution designed for corporate usage
** On-premises solution – the customer owns the (sensitive) data
** A single and integrated analytics solution for internet, extranet and intranet environments
** Tagging & server-side capture mechanisms
** Integration of data from other sources
** Support for SharePoint 2010/07/03, and other technology-dependent applications
** Three editions – tailored for various customer's reporting needs
Key Benefits
** A full web analytics package accommodated with a unique JavaScript tracking mechanism
** A single reporting interface for multiple and time-zone distributed farms, site collections and external applications with robust scalability supporting large traffic volumes
** Advanced visitor segmentation, including integration with Active Directory, SharePoint user groups, profiles, action types and others
** An open API-based platform for report customization, and tracking of different applications
** Optional audit trail for information leak, user tracking and monitoring of portal activity
For further information, please contact us at info@intlock.com or visit us at www.intlock.com
Read more about our Google Analytics segmentation and custom reporting on our blog: www.swellpath.com/2008/11/segmentation-and-custom-reporti...
Read more about our Google Analytics segmentation and custom reporting on our blog: www.swellpath.com/2008/11/segmentation-and-custom-reporti...
Professor Liesl Riddle has a great market segmentation of Diaspora's reasons for entrepreneurship and investment in their home country. The social status and political power aspect of investment is often not recognized to the level they actually influence Diaspora business decisions. I would propose that social status (show they made it) is the #1 driver of Diaspora investment.
--
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 iFACESmile digital orthodontics is a complete ortho digital solution bridging the gap between traditional and orthodontic digital workflows, providing orthodontists with efficient, consistent, and high-quality orthodontic services. With more than 16 years of orthodontic industrial experience, we specialize in supporting orthodontists for clear aligner treatment plan design, convenient chairside equipment and in-direct bonding service.
Why iFACESmile Digital Orthodontics？
Flexible Ways of Working Together
No matter you're orthodontists, dental clinics or dealers, contact us to find a win-win business model to working together as long as you want to develop clear aligner business. Two models are available now:
Chairside DIY Package
IFACESmile Clear Aligner Digital Solution
Open Orthodontic Analysis and Treatment Planning Services
Choosing an open system is one of the best way to secure access to the most accurate treatment planning you want. With iFACESmile you can choose your preferred ways to finish the treatment plan: iFACESmile handles the teeth model segmentation for you and you set up the final (target) positions and workouts the treatment plan yourself by using DragonOrtho.
Supporting Continued Educational Courses
From digital software operation tips and tricks courses that hone your skills, to introduction to advanced workflows and professional orthodontic design, iFACESmile continued educational courses want to bring the cutting edge and systematic solution close to you. The continued educational courses is designed with your growth in mind. It is our goal to ensure you get the most out of your iFACESmile digital retainer solution.
www.imdmedical.com/products/ifacesmile-digital-orthodontics/
Designed and folded by Sipho Mabona November '06
from 40 cm (aprox. 16 inch) origamido paper
final size aprox. 10cm (4 inch)
In this ant design the seperation of head, thorax and abdomen as well as the segmentation of the abdomen are incorperated in the CP. The most important improvment dough are the longer legs and antennae.
All legs and the antennae are edge flaps.
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_...
A revolution in phenomic is taking place, using non-invasive technologies based on spectral reflectance from plant tissue.
Photo by Alfonso Cortés/CIMMYT.
(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 orig photo was Segmentation using G'MIC(GIMP), then was painted using "Deep Paint 2" under WINE. Then was sent back to GIMP to clean-up. Deep Paint 2 is now a free program. Camotes, Philippines.
A photo inspired by Saul Leiter Retrospektive - an exhibition at the Kunstfoyer in Munich
[www.versicherungskammer-kulturstiftung.de/en/kunstfoyer/e...]:
Early street photography with reflections and segmentations
***
[1R1A1551_ji(Ausschnitt3x2_4342x2895+Ausr).jpg]
Une problématique majeure en imagerie des tissus biologiques est le traitement d'image. Il faut réussir à quantifier pour pouvoir tirer des conclusions, et cela n'est pas toujours facile !
Les algorithmes d'apprentissage profond (ou Machine Learning) aident beaucoup les scientifiques à segmenter les images, c'est à dire à décomposer l'image en éléments indépendants, comme par exemple ici des noyaux de cellules, avant et après segmentation par le fabuleux logiciel #CellPose.
©Gabriel Le Goff - plateforme IMAG'IC, Institut Cochin/Inserm.licence CC-BY-NC 4.0 international
Source : doi.org/10.1038/s41592-020-01018-x
Shakhrisabz is, above all, associated with the Ak-Saray palace. Many amazing legends are linked with the history of the palace's construction. According to one of them, Timur began to think of building a magnificent edifice, summoned an architect and set out his objective. After listening to the ruler, the architect asked to be allowed into the state exchequer. When permission was granted, the craftsman started to make foundation blocks from clay mixed with gold in full view of Timur.
Seeing that the ruler remained impassive, he broke up the blocks and returned the gold to the exchequer. When Timur asked: "Why did you do that?" the architect replied: "So as to make sure of your determination to embark on constructing a building that requires vast expenditure." A second legend recounts that, after the main building work had been completed, Timur began to tell the craftsmen to hurry up and finish the decorative facing of the palace. But they were in no hurry to cover the building with majolica and mosaic. When the angry ruler ordered the chief architect to be brought before him, it emerged that had vanished after hanging a chain in the centre of the palace's main arch. Since no other craftsman of equal stature could be found, the building remained unfinished. Some time later, however, the architect suddenly appeared and, after making sure that the chain on the entrance arch was now considerably lower, embarked on decorating the building.
When Timur demanded an explanation of his strange flight and sudden reappearance, the architect replied: "I dared not disobey my sovereign's command, but I could not carry it out either. Stern punishment awaited me in either case, since such a majestic building had to settle and bed down firmly in the ground, otherwise all the decoration on it would be destroyed." The great ruler appreciated the craftsman's wisdom and resourcefulness.
The palace building in Shahrisabz took over a quarter of a century to construct. The Spanish ambassador, Ruy Gonzalez de Clavijo, who passed through Shahrisabz in 1404 on his way to the court of Timur in Samarkand, was astounded and charmed by the architectural miracle, and he left a detailed description of it, noting, however, that the splendid artistic decoration of the palace was still unfinished. The overall layout, scale and artistic appearance of Ak-Saray can be reconstituted from the descriptions of contemporaries and eyewitnesses, as well as from the results of archaeological excavation at the site. According to written accounts, the palace consisted of several stately, living or service quarters, grouped around separate courtyards.
The overall scale of the palace is impressive: the main courtyard alone, which has been reconstituted from the micro relief, was 120 - 125 m wide and 240 - 250 m long. The size of the other courtyards and of the outer perimeter of the palace has not been reconstructed owing to severe disturbance of the micro relief in the 15th - 16th centuries. Calculation of the proportions of the surviving elements of the site makes it fairly certain that the height of the main portal reached 70 m. It was topped by arched pinnacles (ko'ngra), while corner towers on a multifaceted pedestal were at least 80 m high. The main entrance portal was 50 m wide, and the arch had the largest span, 22.5 m, in Central Asia.
The architectural decor, featuring a wide variety of designs and colours, is particularly noteworthy in the artistic appearance of Ak-Saray. When using various techniques, however, the craftsmen bore in mind that the palace's main portal faced north, towards the capital, Samarkand. Given the poor light, the architects used only flat segmentation here and hence a continuous decorative treatment. The use of brick mosaic work, mainly dark and light blue in colour, forming large geometrical and epigraphic designs on a background of polished building brick, gives the portal a special softness of colour and an air of grand mystery.
The various mosaic and majolica work in the niche of the portal is particularly refined and highly coloured. The delicately executed ornamentation incorporates exquisite calligraphic inscriptions of mainly Koranic content, although secular ones are found too. In the midst of the decorative facing, an inscription has survived, giving the date of completion, 798 (1395 - 1396), and the name of the craftsman, Muhammad Yusuf Tebrizi (from the Azeri city of Tabriz). According to Clavijo, who visited Ak-Saray, "in this palace was a very long entrance and a very high portal, and by the entrance, to right and left, were brick arches covered with tiles painted with various designs. Beneath these arches was what looked like small rooms without doors, and the floor inside them was covered with tiles. This was done so that people could sit there when the king was present. Beyond this was another door and after that a large courtyard, paved with white slabs and surrounded by richly decorated galleries. In the middle of the courtyard was a large pool. The courtyard was some 300 paces wide, and it gave access to a large house, in which was a very high and wide door, decorated with gold, azure and tiles of very fine workmanship. In the middle, above the door, a lion was depicted, lying in the sun, and exactly the same picture was to be found at the edges. This was the device of the king of Samarkand. After this, the envoys were taken to look at the chamber that the king had appointed for sitting and feasting with his wives, very spacious and luxurious. Before it was a large garden with many shady and assorted fruit trees. Inside it were many pools and artfully sited meadows. By the entrance to this garden there was such a vast space that many people could have enjoyed themselves sitting there in the summertime beside the water and beneath the shade of the trees. The workmanship in the palace is so luxurious that, in order to describe everything well, one has to go and examine it a little at a time."
The Ak-Saray palace is a grandiose piece of civil architecture, and not just by Central Asian standards. Historical tradition ascribes the destruction of the majestic edifice to Abdullakhan, who, during one of the sieges of un-subdued Shahrisabz, is supposed to have ordered the splendid structures of Timur and his descendants to be demolished. Be that as it may, of the once luxurious royal palace only the pillars and part of the arch of the main portal remained by the second half of the 18th century.
By FAS.research, 2007
Based on data of Medical Intelligence Solutions. www.medintelsolutions.com/htmlhome3.aspx
Shakhrisabz is, above all, associated with the Ak-Saray palace. Many amazing legends are linked with the history of the palace's construction. According to one of them, Timur began to think of building a magnificent edifice, summoned an architect and set out his objective. After listening to the ruler, the architect asked to be allowed into the state exchequer. When permission was granted, the craftsman started to make foundation blocks from clay mixed with gold in full view of Timur.
Seeing that the ruler remained impassive, he broke up the blocks and returned the gold to the exchequer. When Timur asked: "Why did you do that?" the architect replied: "So as to make sure of your determination to embark on constructing a building that requires vast expenditure." A second legend recounts that, after the main building work had been completed, Timur began to tell the craftsmen to hurry up and finish the decorative facing of the palace. But they were in no hurry to cover the building with majolica and mosaic. When the angry ruler ordered the chief architect to be brought before him, it emerged that had vanished after hanging a chain in the centre of the palace's main arch. Since no other craftsman of equal stature could be found, the building remained unfinished. Some time later, however, the architect suddenly appeared and, after making sure that the chain on the entrance arch was now considerably lower, embarked on decorating the building.
When Timur demanded an explanation of his strange flight and sudden reappearance, the architect replied: "I dared not disobey my sovereign's command, but I could not carry it out either. Stern punishment awaited me in either case, since such a majestic building had to settle and bed down firmly in the ground, otherwise all the decoration on it would be destroyed." The great ruler appreciated the craftsman's wisdom and resourcefulness.
The palace building in Shahrisabz took over a quarter of a century to construct. The Spanish ambassador, Ruy Gonzalez de Clavijo, who passed through Shahrisabz in 1404 on his way to the court of Timur in Samarkand, was astounded and charmed by the architectural miracle, and he left a detailed description of it, noting, however, that the splendid artistic decoration of the palace was still unfinished. The overall layout, scale and artistic appearance of Ak-Saray can be reconstituted from the descriptions of contemporaries and eyewitnesses, as well as from the results of archaeological excavation at the site. According to written accounts, the palace consisted of several stately, living or service quarters, grouped around separate courtyards.
The overall scale of the palace is impressive: the main courtyard alone, which has been reconstituted from the micro relief, was 120 - 125 m wide and 240 - 250 m long. The size of the other courtyards and of the outer perimeter of the palace has not been reconstructed owing to severe disturbance of the micro relief in the 15th - 16th centuries. Calculation of the proportions of the surviving elements of the site makes it fairly certain that the height of the main portal reached 70 m. It was topped by arched pinnacles (ko'ngra), while corner towers on a multifaceted pedestal were at least 80 m high. The main entrance portal was 50 m wide, and the arch had the largest span, 22.5 m, in Central Asia.
The architectural decor, featuring a wide variety of designs and colours, is particularly noteworthy in the artistic appearance of Ak-Saray. When using various techniques, however, the craftsmen bore in mind that the palace's main portal faced north, towards the capital, Samarkand. Given the poor light, the architects used only flat segmentation here and hence a continuous decorative treatment. The use of brick mosaic work, mainly dark and light blue in colour, forming large geometrical and epigraphic designs on a background of polished building brick, gives the portal a special softness of colour and an air of grand mystery.
The various mosaic and majolica work in the niche of the portal is particularly refined and highly coloured. The delicately executed ornamentation incorporates exquisite calligraphic inscriptions of mainly Koranic content, although secular ones are found too. In the midst of the decorative facing, an inscription has survived, giving the date of completion, 798 (1395 - 1396), and the name of the craftsman, Muhammad Yusuf Tebrizi (from the Azeri city of Tabriz). According to Clavijo, who visited Ak-Saray, "in this palace was a very long entrance and a very high portal, and by the entrance, to right and left, were brick arches covered with tiles painted with various designs. Beneath these arches was what looked like small rooms without doors, and the floor inside them was covered with tiles. This was done so that people could sit there when the king was present. Beyond this was another door and after that a large courtyard, paved with white slabs and surrounded by richly decorated galleries. In the middle of the courtyard was a large pool. The courtyard was some 300 paces wide, and it gave access to a large house, in which was a very high and wide door, decorated with gold, azure and tiles of very fine workmanship. In the middle, above the door, a lion was depicted, lying in the sun, and exactly the same picture was to be found at the edges. This was the device of the king of Samarkand. After this, the envoys were taken to look at the chamber that the king had appointed for sitting and feasting with his wives, very spacious and luxurious. Before it was a large garden with many shady and assorted fruit trees. Inside it were many pools and artfully sited meadows. By the entrance to this garden there was such a vast space that many people could have enjoyed themselves sitting there in the summertime beside the water and beneath the shade of the trees. The workmanship in the palace is so luxurious that, in order to describe everything well, one has to go and examine it a little at a time."
The Ak-Saray palace is a grandiose piece of civil architecture, and not just by Central Asian standards. Historical tradition ascribes the destruction of the majestic edifice to Abdullakhan, who, during one of the sieges of un-subdued Shahrisabz, is supposed to have ordered the splendid structures of Timur and his descendants to be demolished. Be that as it may, of the once luxurious royal palace only the pillars and part of the arch of the main portal remained by the second half of the 18th century.
Mary Ellen Gordon, Managing Director of Market Truths Limited talks about her research into what the characteristics of Second Life Residents are, and if people in Second Life are 'normal' From Aldon Huffhines via blogHUD.com
Mine, Yours, Ours 2019
Filodrammatica Gallery, Rijeka
14th February, 2019
on view until 1st March, 2019 (Mon-Fri 5 - 8 pm)
Curated by Silvio Lorusso
Featured artists: Anxious to Make, Deconstructeam, Constant Dullaart, Maria Eichhorn, Sam Kidel, Alina Lupu, François Girard Meunier, Elisa Giardina Papa, Ottonie Von Roeder, Sebastian Schmieg and Jeff Thompson
Photo: Tanja Kanazir / Drugo more
This three story u-shaped brick building is built to neighborhood scale but stands out importantly by virtue of its distinctive ornamentation. The dark tone of the brick sets off the white of the terra cotta ornament which is used in such a way that it resembles limestone. The brick is laid in Flemish bond and is enriched with accents of clinker bricks, soldier courses, and square terra cotta tiles. The building's corners are chamfered with brick. The roman arched windows of the base have 4-over-6 wood sash and are enlivened with terra cotta haunches. A flush terra cotta string course delineates the attic story which is characterized by rectangular windows, in sets of two and three, which have 4-over-4 wood sash. These windows are supported by stout columns with cushion capitals, in the Norman style. The flush cornice of terra cotta matches the string course. The whole composition is topped by a hipped terra cotta tile roof. The entry pavilion, at one end on the post street facade, is marked by a tiled gable. The entry itself is of roman arches with terra cotta haunches, matching the first story windows in color, but distinguished with moldings. The segmentation of the mass of the building into a "u" shape keeps the building to a residential neighborhood scale. The Eureka Benevolent Society was established in 1850 to provide supportive services for the Jewish community. It is claimed to be the "oldest social service agency west of the Mississippi". The organization purchased this site in 1930 and hired Samuel Lightener Hyman and Abraham Appleton to design the structure. It originally housed the Eureka Benevolent Society, the federation of Jewish charities, and the dental clinic of Mt. Zion hospital. At that time it provided social services to about 350 individuals or families. Currently (1996) projects and agencies housed in this building provide services to 35,000 people annually. Abraham Appleton (1892-1960?) OR (1887-1981) was educated in the beaux arts tradition at U.C. Berkeley. He had a successful practice in partnership with Samuel Lightner Hyman and together they provided architectural services to a number of prominent San Francisco Jewish families. He designed a number of familiar buildings which exhibit a wide range of styles, as well as private residences. Please see: the Jewish Community Center; the Crown Zellerbach building (343 Sansome Street) ; the Hall of Flowers in Golden Gate Park ; San Francisco Academy of Art; the Marina branch library; Sinai Memorial Chapel; Weinstein’s department store (Market Street).
Scott and Post Streets, NE corner
San Francisco
027
Shakhrisabz is, above all, associated with the Ak-Saray palace. Many amazing legends are linked with the history of the palace's construction. According to one of them, Timur began to think of building a magnificent edifice, summoned an architect and set out his objective. After listening to the ruler, the architect asked to be allowed into the state exchequer. When permission was granted, the craftsman started to make foundation blocks from clay mixed with gold in full view of Timur.
Seeing that the ruler remained impassive, he broke up the blocks and returned the gold to the exchequer. When Timur asked: "Why did you do that?" the architect replied: "So as to make sure of your determination to embark on constructing a building that requires vast expenditure." A second legend recounts that, after the main building work had been completed, Timur began to tell the craftsmen to hurry up and finish the decorative facing of the palace. But they were in no hurry to cover the building with majolica and mosaic. When the angry ruler ordered the chief architect to be brought before him, it emerged that had vanished after hanging a chain in the centre of the palace's main arch. Since no other craftsman of equal stature could be found, the building remained unfinished. Some time later, however, the architect suddenly appeared and, after making sure that the chain on the entrance arch was now considerably lower, embarked on decorating the building.
When Timur demanded an explanation of his strange flight and sudden reappearance, the architect replied: "I dared not disobey my sovereign's command, but I could not carry it out either. Stern punishment awaited me in either case, since such a majestic building had to settle and bed down firmly in the ground, otherwise all the decoration on it would be destroyed." The great ruler appreciated the craftsman's wisdom and resourcefulness.
The palace building in Shahrisabz took over a quarter of a century to construct. The Spanish ambassador, Ruy Gonzalez de Clavijo, who passed through Shahrisabz in 1404 on his way to the court of Timur in Samarkand, was astounded and charmed by the architectural miracle, and he left a detailed description of it, noting, however, that the splendid artistic decoration of the palace was still unfinished. The overall layout, scale and artistic appearance of Ak-Saray can be reconstituted from the descriptions of contemporaries and eyewitnesses, as well as from the results of archaeological excavation at the site. According to written accounts, the palace consisted of several stately, living or service quarters, grouped around separate courtyards.
The overall scale of the palace is impressive: the main courtyard alone, which has been reconstituted from the micro relief, was 120 - 125 m wide and 240 - 250 m long. The size of the other courtyards and of the outer perimeter of the palace has not been reconstructed owing to severe disturbance of the micro relief in the 15th - 16th centuries. Calculation of the proportions of the surviving elements of the site makes it fairly certain that the height of the main portal reached 70 m. It was topped by arched pinnacles (ko'ngra), while corner towers on a multifaceted pedestal were at least 80 m high. The main entrance portal was 50 m wide, and the arch had the largest span, 22.5 m, in Central Asia.
The architectural decor, featuring a wide variety of designs and colours, is particularly noteworthy in the artistic appearance of Ak-Saray. When using various techniques, however, the craftsmen bore in mind that the palace's main portal faced north, towards the capital, Samarkand. Given the poor light, the architects used only flat segmentation here and hence a continuous decorative treatment. The use of brick mosaic work, mainly dark and light blue in colour, forming large geometrical and epigraphic designs on a background of polished building brick, gives the portal a special softness of colour and an air of grand mystery.
The various mosaic and majolica work in the niche of the portal is particularly refined and highly coloured. The delicately executed ornamentation incorporates exquisite calligraphic inscriptions of mainly Koranic content, although secular ones are found too. In the midst of the decorative facing, an inscription has survived, giving the date of completion, 798 (1395 - 1396), and the name of the craftsman, Muhammad Yusuf Tebrizi (from the Azeri city of Tabriz). According to Clavijo, who visited Ak-Saray, "in this palace was a very long entrance and a very high portal, and by the entrance, to right and left, were brick arches covered with tiles painted with various designs. Beneath these arches was what looked like small rooms without doors, and the floor inside them was covered with tiles. This was done so that people could sit there when the king was present. Beyond this was another door and after that a large courtyard, paved with white slabs and surrounded by richly decorated galleries. In the middle of the courtyard was a large pool. The courtyard was some 300 paces wide, and it gave access to a large house, in which was a very high and wide door, decorated with gold, azure and tiles of very fine workmanship. In the middle, above the door, a lion was depicted, lying in the sun, and exactly the same picture was to be found at the edges. This was the device of the king of Samarkand. After this, the envoys were taken to look at the chamber that the king had appointed for sitting and feasting with his wives, very spacious and luxurious. Before it was a large garden with many shady and assorted fruit trees. Inside it were many pools and artfully sited meadows. By the entrance to this garden there was such a vast space that many people could have enjoyed themselves sitting there in the summertime beside the water and beneath the shade of the trees. The workmanship in the palace is so luxurious that, in order to describe everything well, one has to go and examine it a little at a time."
The Ak-Saray palace is a grandiose piece of civil architecture, and not just by Central Asian standards. Historical tradition ascribes the destruction of the majestic edifice to Abdullakhan, who, during one of the sieges of un-subdued Shahrisabz, is supposed to have ordered the splendid structures of Timur and his descendants to be demolished. Be that as it may, of the once luxurious royal palace only the pillars and part of the arch of the main portal remained by the second half of the 18th century.
In the original Fujica "ST" lineup, the ST701 had always been a stopdown-metering model, but the ST801 had introduced a modification to the 42mm thread mount to offer open-aperture metering.
The ST601 had introduced a new budget-level tier, which would continue with stopdown metering. That and its more limited shutter-speed range would carry over to the ST605 announced here.
The ST705 remains differentiated from the ST801 by its lower, odd, 1/1500 top shutter speed, and its analog needle exposure display. However the ST705 does gain open-aperture metering, using the same proprietary Fujica M42 mount standard.
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_...
flickrhivemind.net/user/stevenascroggins
www.immersivecda.com/stevenascroggins
Believing the entire human race is interconnected and that we have an immeasurable impact on every breath we each take is a necessary step to escape the destruction of selfishness and conceit.
MARSYAS
Wood, wood mâché, brass, hemp, modeling paste, acrylic, colored pencil
app. 84"
STUDIO SECTION 2002-2005, Marsyas/Myself is a multi-part installation work that requires a space approximately 40' x 40' for exhibition in its entirety. It consists of free-standing sculptures, and large panels hanging on the walls and a combination of these and evenly divided into two metaphorical dimensions: "Marsyas" and "Myself."
Subsequent to the completion of STUDIO SECTION 2002-2005, Marsyas/Myself, the artist created another studio section, STUDIO SECTION 2005-2007, The Seven Deadly Sins and Three Diptychs from The Winter Notebooks. On Pages 7 and 8 of The Winter Notebooks he reprised MARSYAS/MYSELF in retrospect visual and verbal consideration and wrote the following excerpt about it:
"Marsyas/Myself was completed in 2005 and entered into the permanent collection of the Crocker Art Museum in November of that same year. My three year involvement with this studio section was epiphanic and liberating, the separation nearly complete. However, the song of the artist, the skin of Marsyas, hangs heavy and will not be silenced. It lingers still, as Myself lingers still, and will not be silenced. As long as artists create artifacts and as long as viewers persist in creating Art from these artifacts, the myth of Marsyas is the truth of the artist; his life, his pain, his ecstasy, and his fate. By subjection of myself as a particular artist in equation with the corpus of Marsyas, an attempt was made to recast the drama of art into an anti-fascisttic and non-authoritarian process; a complete reassignment of roles wherein the viewer becomes the sole creator of Art and all else is cultural rhetoric. It was also an attempt by this artist at total honesty. As we know virtually nothing about Marsyas, it was my intention to reveal everything about Myself even to the extent of confessional boredom. All information has been made available to the viewer. Setting the plight of Marsyas in his challenge of Apollo within the context of a contemporary sculptor’s studio establishes the parallel of the cautionary myth with all artists who would gamble their lives on a rigged contest. There is no drama greater than the artist’s struggle with his own mortality. The transmutation of mortal desire into material artifact into immortal response is the distinguishing principal of humanity and it is the artist who personifies this principal in its sublime purity. No challenge is greater, no reality more intense. Marsyas is the artist’s myth and it is to this myth all artists conform…."
Below is a transcription of the handwritten text on the sculpture pictured above:
This flaying, this cleaving of repeat...is this my birth or our death? Am I myth or history, beginning or end? Is this dread, this sleepless dream, my awakening? Held tight within the obtect pupa of fear, my wings stir with conviction. Only freedom can still this pain. I will not be contained. As I have always been, I will be no more. Only I can halt the entropy of repetition. My constancy is the triumph of myth. I am the cleaving force of the unexpected. Shorn of history, no linearity describes my purpose. My occurrence offers the chaos of possibility. Blinded by twilight, is there yet time for succession? The pain...the pain. As I split, or attempt to split, the restraints of conclusion, my liberation offers the exhilaration of chaos. Freed from necrophagous dogma. Free to become. Free to be. To excite my scream to the laughter of recognition. This is my purpose. I am Marsyas. This is my song. Myth is the contradiction of repeat, a segmentation of the collective linear into individual histories, an infinity of paradox and wonderment. Evolve or die. Only the middlesex of myth can save us from the inevitable conclusion of repeat. I have no history. Embrace me! I, only I, am our salvation. Do you fear me? Does my potency threaten your rituals of complacency? I am in you and of you.As I split the armored husk, my song leaps free: I am! I am! I am! Myth shifts the horizon centering the vanishing point within the mind’s perspective. Reality is the acceptance of Being. A simple song for those who find their voice. Does my audacity offend you? Do you find myth a child’s play? Tales to charm and horrify, cautionary fictions, naive artifacts of ancient superstition? Look inward. You have no defense against my wisdom. Only I can illustrate your authenticity. I exist when you exist. I mirror your progression. As I have always been, you are yet to be. I await your recognition. Do not fear me. Your pain is the tariff of freedom. Do not patronize me. Do not confuse my purpose. History is a catalogue of repeat. Generation after generation after generation, a choice is given: the time altering wisdom of myth or the relentless repetition of ritual, the shedding of resumption or the re-enforcement of prejudice, the exhilaration of segmentation or the narcosis of repetition. To be free, to be set free as Marsyas was set free, to rip oneself from the womb of repeat, to experience the light of myth is to assume the awesome power of self-creation. As I rise to intersect intractable repeat, I, the myth of Marsyas, await your recognition. As I challenged the god, you shall challenge the god, no matter the forfeit. It is the challenge that frees you. All pain dims in the light of self-creation. Embrace your pain. Marsyas! Embrace my dedication. There is only absence, the defeat of dogma. The interruption of repeat, the creation of the self.
Authors: Lina Espinha and Paula Fernandes
Date: April 2009
Description: Segmented model of the cervical spine extracted from CT images. Segmentation is the partitioning of an image volume into non-overlapping voxelized regions. Each region defines the geometric locus of an anatomical structure. As part of the geometric modeling process, segmentation is the turning point in anatomical representation: it establishes the transition from the supportive bi-dimensional image realm (image data) to a fully tri-dimensional domain (mesh data).
Source: Master thesis
Image and caption provided by: Paula Fernandes, IDMEC/IST-TU Lisbon
Cut-resistant gloves have extraordinary cut-resistant performance and wear-resistant performance, making them high-quality hand labor protection products. The service life of a pair of cut-resistant gloves is equivalent to 500 pairs of ordinary thread gloves, which can be called "one for one hundred". It can be widely used in meat segmentation, glass processing, metal processing, petrochemical, disaster relief, fire rescue and other industries.
Elrathia trilobite. Mid-Cambrian, 550 million years old, from Utah. About 1cm long.
Segmentation is a form of pattern formation.
Cut-resistant gloves have extraordinary cut-resistant performance and wear-resistant performance, making them high-quality hand labor protection products. The service life of a pair of cut-resistant gloves is equivalent to 500 pairs of ordinary thread gloves, which can be called "one for one hundred". It can be widely used in meat segmentation, glass processing, metal processing, petrochemical, disaster relief, fire rescue and other industries.
In this new work, Adam Harvey explores the agency and control inherent in certain ways of creating and encoding data, by transposing labels into different value systems for autonomous vehicles to see the world from the perspective of cyclists, pedestrians, or the natural terrain. Working with object detection, semantic segmentation, image classification algorithms, and existing autonomous vehicle training datasets, Harvey develops a new “zone system” and an “algorithmic realism” to rethink the top-down causality of computer vision taxonomies against a backdrop of environmental crisis.
Photo: Adam Harvey
Senior Account Supervisor
Lisa approaches communications from a strategic marketing perspective. From research and target segmentation to ROI analysis, Lisa specializes in identifying the right message for the right people at the right time. Her experience spans a variety of industries, including healthcare, publishing and electric utilities. This self-proclaimed Vol for Life knew her future would lead to marketing when she started editing magazine ads and billboards as a child. B.A. Speech Communication, University of Tennessee.
InfoCepts- This Dashboard enables retailers to understand the probability a shopper will purchase one or more items, given a set of items previously purchased or in the shopping "basket". The dashboard is used to make decisions about Product Promotions, Placements and Product Displays, Store Segmentation, Customer Segmentation and Targeting. The major KPIs include No. of Baskets, % Support and % Confidence. The dashboard also provides Affinity analysis by Region, Department and Item. Click Here to check out our MicroStrategy Dashboards.
Read more about our Google Analytics segmentation and custom reporting on our blog: www.swellpath.com/2008/11/segmentation-and-custom-reporti...