View allAll Photos Tagged segmentation
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/
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
This image is available for purchase. Please contact me by leaving a message on Flickr.
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).
Entry in category 1. Object of study; Copyright CC-BY-NC-ND: Maurizio Cortada
Hearing loss affects millions of people worldwide, with increasing numbers and high burden of disease for affected individuals. Yet treatment options available are limited to prosthetic devices. This image shows an explant of the hearing organ (cochlea), which harbors the sensory cells essential for hearing (in green). These sensory cells are also known as hair cells, are present in limited numbers, and often lost when people experience hearing loss. Unfortunately, hair cells cannot be regenerated upon loss, and hearing loss is permanent. Using experimental models like this cochlear explant, we aim to find better preventive and therapeutic strategies against hearing loss. The image was taken with a spinning disk confocal microscope. Image analysis techniques are improving rapidly. Using automated image segmentation based on machine learning (Labkit plugin for Fiji), 3D surfaces were generated in Imaris software for each channel to visualize and analyze the explant.
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
Entry in category 2. Women and men of Science; Copyright: CC-BY-NC-ND: Constantin Tuleasca
We (Elena Najdenovska-EPFL engineer and Constantin Tuleasca- medical doctor, chief resident neurosurgeon) started together a PhD and MD-PHD thesis back in 2012. We have functioned as a partnership, in complementarity, during the past 5 years. Elena had worked mainly on thalamus segmentation, by high-field 7 T direct visualization and clustering from diffusion MRI data. I, Constantin, have mainly involved on resting-state functional MRI analysis, with data acquired before and after thalamotomy for tremor. The aim was to better understand the radiobiology of radiosurgical thalamotomy.
Complementarity was the key to bind two different expertise- engineer and medical doctor- for a mutual friendship and scientific major benefit. We have walked together, side by side, during the past 5 years, in the frame of our doctoral thesis. We are now close to the end of the former. We appreciated what science could offer us and have build and made reality wonderful projects.
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...
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.
Entry in category 1. Object of study; Copyright CC-BY-NC-ND: Hanna Camenzind
These three images show the same clinical picture: a choroidal neovascularization in a retinal disease of the eye. Neovascularizations are new vessel formations, in this case from the choroid of the eye. In ophthalmology, these vascular neovascularizations are often seen for example in age-related macular degeneration. The vessels lead to damage of the retina. Treatment with anti-VEGF is indicated here, which induces the vessels to regress.
Imaging using the new "OCT Angiography" after precise segmentation allows real-life imaging of the choroidal neovascularisation.
Better data is becoming available on economic activity within countries, often much exceeding the available information of economic activity across countries. This creates new research opportunities for testing economic theory, analyzing market structures and the sources of market segmentation, and making predictions of how economic shocks propagate across space. The aim of this conference is to bring together researchers from urban economics, industrial organization, health economics, and international trade to study production and trade within and across countries.
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 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.
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.
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/
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.
I went outside today and found a very long (over a meter in length) icicle hanging off of the roof of the outer genkan. I don't know what caused the segmentation of the ice...
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.
--
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_...
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.
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:
(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 revolution in phenomic is taking place, using non-invasive technologies based on spectral reflectance from plant tissue.
Photo by Alfonso Cortés/CIMMYT.
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.
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]
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.