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Frank Michael Beyer
"Let your light shine so before men, that they may see your good works." This sentence from the Bible applies to composers even more than to the general public it was addressed to. Their works connect with the present and yet, simultaneously, they transcend the limits of time, speaking not only to their contemporaries, but also to the generations they do not know and who know nothing of them. Thus, in a musical work, time becomes hope and hope becomes time fulfilled.
Works of art look back to history as well. History gains significance through the horizon of the future and substance through the past on which it rests. Both these dimensions of history are present in Frank Michael Beyer's compositions, to a certain extent accounting for their inherent sense of time. Within the vast universe of music history, there are two composers who became universal benchmarks for Beyer: Johann Sebastian Bach and Anton Webern. He knew Bach's music from his childhood years, his father having published a book on the man he considered to be, along with Max Reger, the be-all and the end-all of Western music. For Frank Michael Beyer, Bach remained an object of eternal curiosity, a mine of constant discoveries. It was during his studies in the 1950s that Beyer also became acquainted with the music of Anton Webern. It was not only their strictness of thought that drew him towards these two composers. They also made him realise the liberating effect that the absolute command of compositional methods had on musical imagination and representation. Time and again, he juxtaposed Bach and Webern in various constellations, extending the arc of tension between them in two directions. Firstly, towards the historical foundations on which Bach composed his works and, secondly, towards the possible future developments to follow from Webern's music. The delicate polyphony and the layers and groupings of his choir work Et resurrexit, premiered in 2003, were inspired by the old, many-voiced works of composers like Josquin or Thomas Tallis. In particular, it was the idea of transforming an increasingly dense network of parts into an almost breathing, vibrant sound. This arch of time runs through Frank Michael Beyer's whole output – sometimes more manifest and decisive, sometimes less. It can be felt in the Fuga fiammata for orchestra, generated from the sequence of notes that "Bach made the subject of the final movement of his Partita in E minor." Like Webern's tone rows, the sequence is based on a three-note cell and mysteriously directs the musical process from the background, coming to the surface only at significant moments. This way of structuring the music in groups and scales of notes is characteristic of Beyer's earlier works. It suggests a similarity to the basic ideas of today's composers, beyond serialism, electronic music and post-modern re-creations.
His experience of Bach – and in a certain sense of Webern, too – makes it impossible for Frank Michael Beyer to divide the spiritual world into neatly marked zones: art here, science there, Christian tradition here, ancient thought there, religious music here, secular there. It is true that he wrote distinctly religious works, like Biblische Szenen (Biblical Scenes), Manifestatio Christi or Canticum Mose et Agni for an eight- to twelve-part choir, as well as works that are clearly intended for secular concert halls. However, he also wrote music across traditional borderlines – a string quartet bearing the title Missa, the movements of which are taken from the Ordinary of the Mass, or Liturgia, the adaptation of the quartet for string orchestra. Religion and philosophy, faith and reason are no opposites for Beyer, both rather part of his perception of the world, informing the power to create new things. The myths and art of antiquity, where music leads to the heart of human life, are present in works such as the ballet Geburt des Tanzes (Birth of Dance), Griechenland (Greece) for large orchestra and the violin concerto Musik der Frühe (Music of Daybreak). Here, they are intellectual gateways to an aesthetic experience that points from the fragments of the here-and-now into the open. And yet, this openness is where the space of historical time assumes a sense of cohesion.
Talking to Frank Michael Beyer about his works means discussing the work of other composers and their background for most of the time. You soon realise, however, that this is one way of understanding some essential points about Beyer's own work. After all, he sees musical composition as an expression of a spiritual world that has many sources and manifestations. A conversation about Bach's Mass in B minor reveals many discoveries that have gone unnoticed by academics. They have grown out of Beyer's own experience, having sprung from the curiosity of an artist for whom exploration, understanding and creation are all part of the same process. Another conversation, about Scriabin, unfolds a horizon in which the particular way of modernist music appears as a promise still awaiting redemption.
Beyer's work is not limited to composing music. Being a true 'homo culturalis', passing on knowledge and experience is part of his work. Teaching at the former Berlin Arts College (now a University), he shared his understanding and expertise with composition students. While there, he also founded the Institute of New Music and launched the "Musica nova sacra" series, a project which bridged the gulf between the avant-garde and functional music for use in church. He organised the Berlin Bach Days and was a member of the supervisory board of the GEMA, the German organisation for the management of reproduction rights for artists. Between 1986 and 2003 he was director of the music department of the Berlin Academy of the Arts, where he has been a member since 1979. In addition to this, the Bavarian Academy of Fine Arts also appointed him a member in 1981.
In recent years, certain features of Beyer's work have become more prominent than in earlier works, where they had already existed, but more as a structural force, remaining in the background. They affect not only configurations of musical ideas but also the role and responsibility of art in society. His œuvre after 2003 shows an extraordinary amount of solo works – either for one soloist, like the Metamorphosen (Hommage à A. Scriabin) for solo violin, or for a solo instrument with orchestra, like the viola concerto Notte di pasqua and the flute concerto Meridian. After finishing the first versions of the two latter works, Beyer added a movement or section in each that he had composed later to complete their final architecture. Even Choreographie, not a solo work but a piece for twelve cellos, mostly draws its energy from the tension between solo and choral impulses. In the middle movement – the core section – of the piano trio Lichtspuren (Light Traces), one aspect of the polarity between solo piano and the two string instruments is the conflict between assured individualism on the one hand and socialisation of the individual on the other.
For Frank Michael Beyer, compositional consistency is a response to his social perception. In his more recent works, this consistency crystallises mainly in the relation of melos and sound. An example of this is Metamorphosen, a reflection on Scriabin's sixth piano sonata, which had already fascinated Beyer during his years of study. In the sonata, partly moving, partly insistent melos flows from stagnant or effervescent sounds like the minute drawings of a secret space. In constantly expanding cycles, the imaginary is woven into the music, beyond its physical shape. Metamorphosen, however, shows Beyer taking the opposite route – melos emerging from sound. Here the imaginary seems to occupy even more space within the harmonic scope, form expanding further than in Scriabin's work, using the same material but exploring a different range of expression. In this freely floating music, time is no longer a rigid measurement scheme but appears, rather, to be a kind of bowl, a vessel enfolding the music.
At the beginning of the flute concerto Meridian, the hard string chords seem to be gradually melting when the virtuoso solo flute 'radiates' into them. This process, which merges into a short flute solo, is the gateway to a work which, in its final form, is laid out concentrically. This form – a typically musical paradox – is unfolded in time. Two tender, short intermezzi – one for the soloist alone, the other a conversation between flute and violin – enclose a powerful and dynamic central section. The intermezzi themselves are framed by an introduction that opens up large perspectives and a concluding piece which "condenses elements developed as motifs in an all-embracing melos". This basic idea, as expressed in the title, informs the composition on various levels, developing it into a sort of intellectual polyphony. One such level, for example, is the work's concentric structure. Another is the central note B-flat, which pulls together and arranges the centrifugal powers everywhere in the third movement, even when it is not heard, and into which the course of the whole movement converges several times. Lastly, there are the solos surrounding the central section, which are reflected in correspondences and reverberations throughout all the movements.
The idea that, in their later works, artists focus on transcendent matters is an ever-recurring truism. It does not, however, bear verification. For Frank Michael Beyer, issues of life, finality and eternity, of love, death and fulfillment have never been reserved for a certain age. As if opposed to this widespread cliché, his latest works feature a lucid, subtle and sometimes luminescent sound.
Notte di pasqua is the title of his viola concerto, which in 2004 completed a trilogy of concertos for a string instrument with orchestra, following Musik der Frühe (1992/93) for violin and orchestra and the cello concerto Canto di giorno (1998/99). His piano trio is called Lichtspuren (2006). "The title suggests the power of flooding light, but at the same time it is a reference to the composition itself, to flaring, supporting bridgings" (Beyer). The metaphor of light points to the main currents of the spiritual legacy we all draw on: Greek antiquity, Jewish-Christian tradition and the enlightenment, "man's emergence from self-incurred immaturity" (Kant).
© Habakuk Traber, 2008 (translation: Andreas Goebel)


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'Game of Thrones' Prequel Series Still Set For 2022 Premiere
Winter is coming, and so is the Game of Thrones spinoff series House of the Dragon. The show was initially set for a 2022 launch, but considering the state of television production, many feared it would be pushed back. However, HBO President Casey Bloys confirmed to Deadline that House of the Dragon is still on track for a 2022 launch. He shared that the show is currently undergoing casting, which for a series of this scale is no doubt a laborious process.
In the same interview, Bloys shared his relief with HBO's success at the Emmys post-Game of Thrones. Indeed, there was some doubt surrounding the network's ability to pull in awards without the massively popular fantasy series. But Succession filled the gap, earning four titles at Sunday night's Emmy Awards. "I am thrilled," said Bloys. "It's especially nice because there was a question how HBO would do. This is a pretty good way to answer that question." The Game of Thrones drought can't last forever, of course. People will eventually crave dragons, blood and betrayal again, and House of the Dragon is poised to bring those things back to the small screen.
House of the Dragon will be an adaptation of George R.R. Martin's Fire and Blood, likely taking place a good 300 years before the events of Game of Thrones. Ryan Condol and Miguel Sapochnik will serve as showrunners on the series. Sapochnik directed six episodes of Game of Thrones, including the highly acclaimed "Battle of the Bastards" and "The Long Night."
Gallery — The Best-Dressed Game of Thrones Characters:

subset: commoncrawl


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Used Chevrolet vehicles for sale in Ontario
You have come to the right place! Auto123.com's car classifieds offer a huge selection of used Chevrolet vehicles for sale in Ontario, including many pre-owned cars, trucks and SUVs available in Ontario. We invite you to use the various options in our search engine to refine your query by year and price. This will make your choice easier among all the second hand Chevrolet cars for sale in Ontario from our inventory. Stop wondering where you can find great pre-owned vehicles for sale in Ontario. They're all here on Auto123.com!


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The idea that we've collectively been thrown a personal financial curveball is an understatement. During this unique and challenging period, as your financial advisor, I am here to help provide you with guidance and options as we all adjust to the current environment.
For now, we want to share a few concepts and ideas that may help you with your personal finances and plans over the coming weeks:
Stay Healthy
Certain wisdom is timeless. Eat well, sleep well and get some exercise. Go for a walk. Do an online yoga class. Distract yourself periodically with a good book, a movie and hobbies. Your overall health is the most important goal to focus on – keep things in perspective.
Reduce Expenses
It's a good time to review the recurring expenses billed to your credit card and any regular debits automatically made to your chequing account. Look for any opportunity to stop or reduce costs if that makes sense for you. Reduce discretionary spending. Prepare homemade meals which are less expensive and healthier.
There may also be an opportunity to review your mortgage and look strategically at its current term length, consider an early renewal, or blend and extend options that may improve your repayment terms.
Sources of Cash Flow
Monitoring your cash flow is an important part of financial stability. If you have extra cash flow at this time, consider setting these funds aside as savings. It's important, when possible, to build flexibility into your plans.
If you need additional sources of cash flow, there is a wide range of options for you to consider, depending on your circumstances.
- Logically, a Savings Account is a good place to consider first. A TFSA can also be a source of short-term funds, depending on how it has been invested.
- A Home Equity Line of Credit can provide access to funds. It gives you the option to pay interest only in the short term and repay the principal as things improve. The Prime Lending Rate has been reduced to 2.95%, and most Lines of Credit are based on Prime Rate plus a small premium.
- Certain types of life insurance may have a Cash Surrender Value, which can be used to take out a policy loan. In most cases, cash proceeds are tax free and loans carry a low rate of interest.
- Canada's banks and credit unions have announced new options for borrowers. This includes temporary relief from certain payments like mortgages, lines of credit, loans and credit cards. We can discuss the best way to approach your creditors to secure the most benefit for you.
- Accessing cash through credit cards (which carry high interest rates) and your RRSP accounts are usually the last places that should be considered. In virtually all instances, RRSP withdrawals should be avoided as they come with tax consequences and the loss of future compound growth.
Support through Government Programs - Recently Announced Changes
The federal and provincial governments have recently announced several new programs and changes to procedures, including changes to the availability of Employment Insurance. Depending on your situation, this can provide some assistance.
Other important support measures include the deferral of tax filing and the payment of tax installments. This infographic provides a good summary.
Part-time and Summer Jobs
It's likely that older school age children are experiencing impacts to their current part time and any planned summer employment. This may be an opportunity for them to work around your home tackling small (and safe) projects. If you have kids affected by a loss of part-time or planned summer work, consider having them look into online courses.
Planning Opportunities
Think constructively. There may be opportunities to review certain strategies based on your longer-term goals and personal circumstances.
The current environment may create an opportunity to strategically leverage certain capital loss positions to help reduce taxes. Certain assets, including securities that you may intend to gift to others, may now have reduced capital gains. Gifting assets during your lifetime can shift future capital gains and income to your beneficiaries and move these assets out of your estate, in turn, reducing taxes and probate costs.
Modifications to portfolio asset allocation, which may have been on hold due to the realization of significant capital gains, can be reviewed.
Investors with access to cash holdings intended for eventual investment, can consider opportunities to make investments while prices for certain securities are significantly lower. There may also be opportunities to buy into the current volatility and take advantage of dollar-cost-averaging.
We're here to support you. Creating a stable and flexible financial situation is achievable. Please contact me with any questions you may have. We can work together to put in place a range of different solutions that make sense for your personal circumstances.
Disclaimer: The above should not be construed as tax planning advice, as each individual's situation is different. Please consult your own tax planning advisor. Investment Planning Counsel Inc. is a fully integrated wealth management company. Counsel Portfolio Services is a wholly-owned subsidiary of Investment Planning Counsel Inc. Trademarks owned by Investment Planning Counsel Inc. and licensed to its subsidiary corporations. Mutual Funds available through IPC Investment Corporation and IPC Securities Corporation. IPC Private Wealth is a division of IPC Securities Corporation. IPC Securities Corporation is a member of the Canadian Investor Protection Fund.


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Slots are either good or bad friends in online casinos. They make you win good time likewise money; they also make you lose or even occasion and money. But, the latter condition can be avoided if a player knows just how to proceed in playing at slots.
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Online gambling and online casinos are so widely common nowadays that will see jackpots that can amount upto 25 years worth of salary. With only a click of the mouse, you'll then have opportunity in winning the goldmine. All you should use is a credit card or a debit card and these be place to bet.
Organize your electronic files and documents first additional medications sure it is well known what you could have in your C: drive, My Documents or shared drive. The elimination of whatever you don't need any a great deal more.
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Yellowstone Park
World's Largest Collection of Geysers
Yellowstone is the world's first national park. The park was established in 1872 by the United States Congress "for the preservation of" its many wonders and "for the enjoyment of the people," and now encompasses 2.2 million acres. The more than three million people from around the world who visit Yellowstone each year experience something more powerful than its founders ever envisioned.
Plan your trip to Yellowstone Park and experience...
- Old Faithful, along with over 300 other geysers and hot springs (more than the rest of the world combined)
- The largest concentration of free-roaming wildlife in the lower 48 states, including grizzly bear, elk, American bison, moose and wolf.
- Three of the world's top trout-fishing streams
- National Historic Landmarks such as the Old Faithful Inn and the grand Roosevelt Arch
- The only place in the world where a wild bison herd has survived continuously since prehistoric times
- Bicycling, Boating, Camping and Hiking opportunities from the tame to the extreme
For more information on Yellowstone Park including interactive maps, webcams, online tours, and more go the official Yellowstone Park website.
Lodging reservations in Yellowstone Park (including camping areas) are handled through Xanterra Parks and Resorts.


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Stora-Fljot available colors: white, grey, black lady's fit, size XS,S,M,L 100% icelandic wool hand knitted
The Icelandic wool As a breed, the Iceland Sheep is unique. The purity of the strain has been protected by centuries of isolation and a total absence of contact with other breeds of sheep. By the same token, the wool it produces has no counterpart anywhere. Evolving over 1100 years of exposure to the sub-Arctic climate, Icelandic wool has a distinctive combination of inner and outer fibers. The outer fibers are long, glossy, tough and water repellant, while the inner ones are fine, soft and insulating, providing a high resistance to cold. Nature reigns supreme through the whole manufacturing process of the Icelandic wool. Only natural energy sources such as geothermal and hydroelectric power are used in its production, while the sheep from which the wool is harvested still graze freely in summer, as they have always done, on vast tracts of virgin land. The Icelandic wool and it's natural benefits (being warm, water repellant, lightweight, breathable, odor resistant and biodegradable) is therefore exceptionally fitting as a raw material for designing multifunctional apparel, suitable for outdoor activity as well as city life.
Care instructions Handwash only in lukewarm water (30°C / 86°F). Do not rub or wring but gently squeeze the liquid through the garment. If necessary, spin for about 1/2 minute to remove excess moisture. Dry flat, smooth the garment out and pull gently into shape. Note: It is often enough to air a wollen garment thoroughly, rather than washing it.
Icelandic Design
Designed by Farmers Market.
Size chart


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Preparing and Publishing Your Manuscript
Communication of original research results may be one of the most important components of the scientific research enterprise, yet in many cases, aspects of the publication process might be unfamiliar. To demystify the process, we developed a "Publishing Your Manuscript" brochure that is intended to provide authors, particularly young researchers, with an overview of this process. Tips for preparing your manuscript along with general information and best practices about submission, and peer review are outlined in each section. This brochure is not meant to be an exhaustive list of all aspects of the publication process, but rather a useful starting point.
Download the English version of the Publishing Your Manuscript brochure. |
We also developed a presentation for authors that is based on the "Publishing Your Manuscript" brochure.
Download a PPT version of the presentation. |


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Milking Devons
Picture Perfect Cattle for Colonial Williamsburg
by Ed Crews
Photos by Dave Doody
Elaine Shirley, manager of Colonial Williamsburg's rare breeds program, helped keep Milking Devons from disappearing.
American Milking Devon Cattle nearly vanished from the planet. Cows of an antique and once-popular stock, by the 1970s, the world's population of the animals had dwindled to less than 100. Just when the decline looked irreversible, individuals and organizations set out to save them, The Colonial Williamsburg Foundation and its coach and livestock staff among them.
It was during the early 1980s that the foundation decided to try to help save threatened domesticated breeds. In 1986, it selected Milking Devons as the first animals for its rare breeds program. Seventeen Devons live now contentedly at Colonial Williamsburg, and the global herd numbers 600.
Elaine Shirley, rare breeds program manager, seems to have in her heart a soft spot for Devons. She likes their gentle nature, their versatility as farm animals, and their appearance—sometimes she'll look at them standing in a pasture and call it a living work of art. She is proud of the foundation's role in saving them from extinction.
Devons are historically correct. The first cattle imported from Devonshire, England, arrived in Massachusetts during 1623. Records from the 1700s mention red cows being raised in Virginia, and the Devons certainly are red, their coloring ranging from deep mahogany to chestnut.
They are calm, friendly, intelligent, hard working, and hardy. Devons can do well on a low-quality, high-forage diet, and they are relatively unaffected by harsh climates, traits that help explain their centuries-old popularity in New England. They are adaptable, too. Today, they do well in places as diverse as Oklahoma, Georgia, and New Mexico.
Colonists and later Americans admired the Devons for all their characteristics, and because they made good draft animals, could provide adequate amounts of milk and meat, and their milk could be turned into fine dairy products.
Devons tend to be healthy with good lifespans. As modern cattle go, they are not extremely large. Cows typically weigh from 1,000 to 1,200 pounds; bulls from 1,600 to 1,800 pounds. At birth, calves usually are between 75 and 100 pounds.
Colonial Williamsburg interpreter Carrie MacDougal brushes a red Milking Devon, with Ian MacDougal, Rachel Harcourt, and Martin Harcourt in the background. In addition to producing milk and meat for colonists, the Devons were good draft animals.
"We always have cattle of some sort in town," Shirley said. "People like seeing them around. Interpreters can use the animals to give a talk on eighteenth-century farming practices, and we even milk cows in front of people in town. Visitors often are amazed at how people-oriented cattle can get."
Interpreters remind guests that early Americans knew nothing of selective breeding as practiced today. Colonial farmers did not relentlessly breed animals for specific qualities or purposes. For them, multipurpose cows were fine.
In the nineteenth century, selective breeding began in earnest, leading to Beef Devons and Milking Devons. The cattle were admired as draft animals, particularly in difficult conditions, as Lewis F. Allen noted in the 1800s:
For active handy labor on the farm or highway, under the careful hand of one who likes and properly tends him, the Devon is everything that is required in an ox, in docility, intelligence, and readiness for any task demanded of him. Their activity in movement, particularly on rough hilly grounds, give them for farm labor almost equal value to the horse, with easier keep, cheaper food and less care. For his lack of size the Devon is not so strong as other breeds, but "for his inches," no horned beast can outwork him.
But when the internal combustion engines started providing power for tractors, trucks, and other equipment, few farmers wanted Devons for draft work, and other breeds did much better as dairy and beef cattle. Early in the twentieth century, Devons began a long, slow slide toward oblivion.
In 1952, a small group of breeders tried to keep Devons as dairy cattle, and to maintain stock for draft duties and meat. The effort was not notably successful, but the Devons' future got brighter during the American Bicentennial. Historical sites became interested in trying to find animals that resembled as closely as possible those from early years. This spurred interest in protecting breeds that provided living links to the past. Colonial Williamsburg decided to find some Milking Devons. They would be picture-perfect for Historic Area pastures.
Interpreters Carrie MacDougal and Eric Hunt talk about the history of the Devons, as well as the rare breeds program, to guests in the Historic Area: the Savercool family from New Jersey, the Tombros from New York, and Michael and Sally Woodard from Florida.
Colonial Williamsburg also knew that Devons were popular in New England. That region seemed like the best place to start looking.
"We discovered some Devons in Alton, New Hampshire. The owner was Mrs. Alice Ziegra. She had Devon cattle and was prominent in the Devon cattle association. Her sons were into raising oxen and had a herd. She agreed to help. She was a widow and was downsizing her herd. So she sent us Nora, an adult female," Shirley said.
Soon the foundation began breeding Milking Devons, initially through artificial insemination. Later, it acquired a bull.
"We have sold and traded offsprings with others to expand the breed," Shirley said. "We've sold animals in New England, Virginia, and elsewhere in the South. We've sold animals to various organizations and brought in animals to vary the gene pool."
The number of Milking Devons is growing, and the breed's future looks brighter every year. For Shirley, the importance of her work was brought home when she encountered some English guests in Williamsburg. The meeting reminded her just how fragile some domestic breeds are, and what a difference a rare breeds program can make.
"The lady said to me that she wished she had a Milking Devon," Shirley said, "but, of course, she didn't because basically the breed has died out in England, its original home."
Ed Crews, a Richmond-based writer, contributed to the autumn 2007 journal a story about Colonial Williamsburg's riding chairs.


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With a ready supply of new or pre-used containers, storage facilities, skilled container conversion personnel and on-site electrics and plumbing, Pentalver says it is able to rework shipping containers to create a separate boiler house and fuel store, with an internal capacity of 33.2 m³.
It adds that the benefits of using shipping containers include their strong structure and weight bearing capacity which makes them ideal for housing heavy boiler equipment. There is also no need for additional foundations or a base as containers can be landed directly on to the ground.
Other benefits of the container boiler room are said to include: portability, ease of installation (it simply needs to sit on a concrete plinth) and a low cost alternative to an expensive permanent structure.
Sam Baggley, group container sales manager at Pentalver, said: "With the government committed to meeting 15 percent of the UK's energy demand from renewable sources by 2020 and financial assistance available through the Renewable Heat Incentive, biomass installations are on the increase.
"Our converted containers provide a cost-efficient method of creating a totally bespoke boiler room that can be located in close proximity to residential or commercial properties."


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Kylie Maria
Trans500 Model of the year Kylie Maria is back with this 1st episode of a series with the ultimate TS Parody Kaitlyn Gender. Today we have her desperate to get her way no matter what. She's dying to meet world famous Juice Gender. Coach Ramon won't let that happen. It's a no go for him. We know Ramon though. We know that he can easily be convinced with a some TS booty! Now do we really need to explain what goes down next? Probably not. Kylie Maria gets her way the perfect way she knows how. She sucks and rides that Coach Ramon cock like a pro. SCORE!


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Caused by a blocked gland in your eyelid, it can cause discomfort or affect vision.
A chalazion is a cyst (a small sac of fluid) on the inside of the eyelid. Due to its location, it can be mistaken for a stye and can grow to the size of a pea. If a chalazion is large, it can cause discomfort or affect vision. It is caused by a blocked gland in your eyelid. The glands help to keep your eyes moist by preventing the watery layer on the surface of your eyes (tears) from evaporating. They do this by producing an oily film over the tears.
A chalazion will sometimes get better on its own. However, your ophthalmologist may suggest a surgical procedure to remove it if it is large, uncomfortable, affects your vision or doesn't respond to other treatments.
We can't display a fee for this procedure just now. Please contact us for a quote.
Our patients are at the heart of what we do and we want you to be in control of your care. To us, that means you can choose the consultant you want to see, and when you want. They'll be with you every step of the way.
All of our consultants are of the highest calibre and benefit from working in our modern, well-equipped hospitals or clinics.
Our consultants have high standards to meet, often holding specialist NHS posts and delivering expertise in complex sub-specialty surgeries. Many of our consultants have international reputations for their research in their specialised field.
You will have a formal consultation with a healthcare professional. During this time you will be able to explain your medical history, symptoms and raise any concerns that you might have.
We will also discuss with you whether any further diagnostic tests, such as scans or blood tests, are needed. Any additional costs will be discussed before further tests are carried out.
We've tried to make your experience with us as easy and relaxed as possible.
For more information on visiting hours, our food, what to pack if you're staying with us, parking and all those other important practicalities, please visit our patient information pages.
Our dedicated team will also give you tailored advice to follow in the run up to your visit.
Your consultant will offer surgical treatment for chalazion cyst if other conservative methods have been unsuccessful.
They eyelid will be numbed and a small incision is made on the inside of the affected eyelid to release the contents of the cyst. The procedure is usually carried out under a local anaesthetic in an outpatient setting but on occasion, may need to be performed in a theatre environment. Your consultant will discuss the most appropriate options with you during consultations.
We understand that any medical procedure can be a cause of anxiety – even if it's relatively straightforward. That's why our experienced and caring medical staff with be there for you every step of the way.
Following the procedure it is important to keep dry and clean. Your consultant will give you additional information on caring for your eyelid following the procedure.
We are committed to delivering excellent individual care and customer service across our network of hospitals, clinics and specialist care centres around the UK. Our dedicated and highly trained team aim to achieve consistently excellent results. For us it's more than just treating patients, it's about looking after people.
The treatment described on this page may be adapted to meet your individual needs, so it's important to follow your healthcare professional's advice and raise any questions that you may have with them.
Spire Murrayfield is an approximate 20 minute drive from Edinburgh Airport or 10 minutes from Haymarket train station. Regular buses serve the area well. Spire Shawfair Park is located to the south east of the city centre close to the City Bypass and the Royal Infirmary at 10 Easter Shawfair, Edinburgh, EH22 1FE.
Spire Murrayfield Hospital
122 Corstorphine Road


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Skinning Silverlight controls just got easier
| CommentsThis has been one of the features that I've been excited about for a while since I heard we were changing it. With the release of Silverlight 2 Beta 2 and the updated preview of Expression Blend 2.5 (June 2008), skinning and styling controls within Silverlight gets a bunch easier.
When Silverlight 2 Beta 1 was released there was the possibility of styling/skinning controls. It wasn't impossible, but perhaps a bit obfuscated to the eye for people with short attention spans like myself. You can read more about those methods here and here. WPF designers were probably laughing that Silverlight developers might have been struggling with skinning controls. Why? Because Blend for WPF supports a right-click "Edit Template" functionality for WPF…so where is it for Silverlight? In the latest release of Blend 2.5 of course!
That's right—simpler skinning. At RIApalooza in fact I was asked about how one would know *what* elements could be skinned, etc. Outside of the docs, and some spelunking, it wasn't entirely intuitive. But now, well, let's take a look. Let's take a look at Blend 2.5 June 2008 preview and adding a ScrollBar to our design surface:
You may not realize it but the ScrollBar has a lot of elements that you can skin. The thumb, the handles, the bar, every little detail…so now in Blend 2.5 we can right-click and choose to edit that:
When you do this you are prompted for some settings, one to name the style and the second of where to put it, either in the document resources or as an application resource that other controls may subscribe to:
After you do this, your objects and timelines explorer (on the left by default unless you've moved it) now changes to represent the layered elements of the control you are skinning now. Note that the "up" arrow will get you out of this mode and back to your documents visual tree of elements. Here's what the base template for ScrollBar looks like:
You can continue to dig further. For example with ScrollBar, if you wanted to modify the Thumb, simply select that in the visual object tree:
then right-click on the Thumb now on the design surface and choose to edit that template and now you'll see that you can edit the Thumb's template rather simply:
If I wanted to I can remove the three elements that make up the HortizontalThumb and make my Thumb an Image of myself (horrible design, but proving a point):
I chose ScrollBar in this post, but you can do this with any of the controls and the process is the same. This now makes skinning a bit more within a closer reach to most. The reach for developers might be a bit further if you have no design skills…but I'll gladly send you my picture if you want to use it as your navigational Thumb for ScrollBar.
One other tip is that when you have an element on the design surface that has a template skin attached to it, Blend will help you get there even faster rather than having to right-click further. At the top there is a breadcrumb like trail and if you are on an element that has a template there will be a "Template" link you can click directly on:
Hope this helps!
Please enjoy some of these other recent posts...


text:
Young mother Renee (Noomi Rapace, The Girl with the Dragon Tattoo, Prometheus) has her life thrown into chaos when she is randomly abducted, drugged and taken to a secret lab facility.
As her captors traumatically experiment on her, Renee must discover why she was chosen and fight to escape her prison.
Produced by Andrew Lazar (American Sniper) and starring Noomi Rapace, Michael Chiklis (The Shield), Peter Stormare (Fargo), Kerry Bishé (Argo) and Lesley Manville (Maleficent), Rupture is a complex and terrifying tale of fear from writer/director Steven Shainberg (Secretary).
Signature Entertainment presents Rupture in Cinemas and On Demand from 4th November 2016


text:
ISO 17488:2016 provides a detection-response task mainly intended for assessing the attentional effects of cognitive load on attention for secondary tasks involving interaction with visual-manual, voice-based or haptic interfaces. Although this document focuses on the assessment of attentional effects of cognitive load (see Annex A), other effects of secondary task load may be captured by specific versions of the DRT, as further outlined in Annex B. Secondary tasks are those that may be performed while driving but are not concerned with the momentary real-time control of the vehicle (such as operating the media player, conversing on the phone, reading road-side commercial signs and entering a destination on the navigation system).
NOTE According to this definition, secondary tasks can still be driving-related (such as in the case of destination entry).
ISO 17488:2016 does not apply to the measurement of primary (driving) task demands related to the momentary real-time control of the vehicle, such as maintaining lane position and headway or responding to forward collision warnings. However, this does not preclude that the DRT method, as specified in this document, may be adapted to measure such effects.
ISO 17488:2016 applies to both original equipment manufacturer (OEM) and after-market in-vehicle systems and to permanently installed, as well as portable, systems.
It is emphasized that, while the DRT methodology defined in this document is intended to measure the attentional effects of cognitive load, it does not imply a direct relationship between such effects and crash risk. For example, taking the eyes off the road for several seconds in order to watch a pedestrian may not be very cognitively loading but could still be expected to strongly increase crash risk.
Furthermore, interpret DRT results cautiously in terms of demands on a specific resource, such as cognitive load. Specifically, if the goal is to isolate the effect related to the cognitive load imposed by a secondary task on attention, avoid overlap with other resources required by the DRT (e.g. perceptual, motor, sensory or actuator resources). A particular concern derives from the fact that the DRT utilizes manual responses (button presses). Thus, for secondary tasks with very frequent manual inputs (on the order of one or more inputs per second), increased response times on the DRT may reflect this specific response conflict (which is due to the nature of the DRT) rather than the actual cognitive load demanded by the task when performed without the DRT (i.e. alone or during normal driving; see Annex E). Thus, for such response-intensive tasks, DRT results are interpreted with caution. This document defines three versions of the DRT and the choice of version depends critically on the purpose of the study and the conditions under which it is conducted (see Annexes A and B for further guidance on this topic).
ISO 17488:2016 specifically aims to specify the detection-response task and the associated measurement procedures. Thus, in order to be applicable to a wide range of experimental situations, this document does not define specific experimental protocols or methods for statistical analysis. However, some guidance, as well as examples of established practice in applying the DRT, can be found both in the main body of this document and in the annexes (in particular Annexes C and E).
Informaciones generales
Estado: PublicadoFecha de publicación: 2016-10Etapa: Norma Internacional confirmada [90.93]
Edición: 1Número de páginas: 76
Comité Técnico :ISO/TC 22/SC 39
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text:
Eleven people on Wednesday in Abuja suffered varying degrees of burns from a gas explosion that occurred at Rosy Restaurant, Area 11.
The victims, who were immediately taken to Asokoro General Hospital, suffered some 40 to 50 degree of burns.
A pregnant woman, who simply identified herself as Ajayi who works at the restaurant, said that they were all going about their normal businesses when the gas suddenly exploded.
Ajayi, who is three months pregnant, said that she needed to go for scanning to ascertain the condition of her baby.
The explosion affected her face, legs and hands.
She was, however, attended to by the hospital management to know if she would be transferred to where she would be given a better treatment.
Rachael Awu, another attendant at the restaurant and one of the victims of the explosion, said she was attending to her duty when the explosion rocked the restaurant
"I was serving customers and I went to pack meal, as I looked back, I just heard the explosion.
"The fire started from the back of the restaurant where one of the cylinders was stationed. I was facing outside and when I tried to look back, I saw fire from the explosion.
"One of the gas cylinder was stationed outside the restaurant in the open space, and there is another gas inside where we used to put meat.
She said that the gas cylinder outside was the one that aided the fire which ignited the gas cylinder inside the restaurant.
Another victim, who simply identified himself as Promise, said that the explosion was sudden, adding that he was attending to customers when he heard a loud noise.
Promise suffered some degrees of injuries on his two hands and a partial burn on his face.
"I went to carry sachet water when the gas exploded. As I turned back, the fire was already burning my hands."
Rose Kenu, a worker at the restaurant whose face was affected by the explosion, said what happened was beyond explanation.
"I was in the restaurant when the gas exploded, we were cooking inside the restaurant because that is where the kitchen is located."
Dr Aminu Mile, the Acting Managing Director, Health and Human Services Secretary (HHSS), Federal Capital Territory Administration (FCTA) while on a visit to the victim, said the circumstances surrounding the explosion would be unravelled.
He said that the HHSS was already doing his own part to help victims of the explosion, adding that everything would be done to help the victims.
Dr Nnabuchi Chidi, Acting managing Director, Asokoro Hospital, said that the hospital would refer some of the victims to the National Hospital.
He said that 11 of them were brought to the hospital and the hospital would do everything to ensure they are stabilised.


text:
The Beau & the Belle
19 ratings
Beau Fortier starred in most of my cringe-worthy teenage fantasies.
I met him when I was a junior in high school, a time that revolved exclusively around bad hair, failed forays into flirting, and scientific inquiries into which brand of toilet paper worked best for stuffing bras.
That is, until Beau moved into the small guest house just beyond my bedroom window.
A 24-year-old law student at Tulane, Beau was as mysterious to me as second base (both in baseball and in the bedroom). He was older. Intimidating. Hot. Boys my age had chicken legs and chubby cheeks. Beau had calloused hands and a jaw cut from steel. Our interactions were scarce—mostly involving slight stalking on my end—and yet deep down, I desperately hoped he saw me as more of a potential lover than a lovesick loser.
Turns out, I was fooling myself. My fragile ego learned that lesson the hard way.
Now, ten years later, we're both back in New Orleans, and guess who suddenly can't take his eyes off little ol' me.
My old friend, Mr. Fortier.
But things have changed. I'm older now—poised and confident. My ego wears a bulletproof vest. The butterflies that once filled my stomach have all perished.
When I was a teenager, Beau warned me to guard my heart.
Let's hope he knows how to guard his.


text:
Ohhh, I dunno. I like tea but I'm kind of a tea newbie. At this point I can say with authority that I may never be anything else, no matter how many teas I try…there is always something new out there.
I write a lot.
I also play way too many video games.
Ratings! (Bout time, wot?) This is a new arrangement, so…subject to change!
1-10: Not potable. First-sip disasters.
11-30: Intensely unpleasant…won't catch me finishing the cup.
31-50: I really don't like it…but maybe somebody else out there would.
51-70: Drinkable, but probably not the first thing I'm going to reach for.
71-90: Pretty good tea, and stuff that there's a good chance I'll have on-hand. Will do in a pinch at the low end, all the way up to regular visitors to my infuser on the high end.
91-100: Teas I really do not want to be without.


text:
Friday, October 10, 2008
To Do List
Raw edge applique: I'm thinking Santa's workshop.
Binding: Polka dots maybe?
Find a table for this one.
Quilt testing service: Will work for Scooby snacks.
54 comments:
- Dionne said...
So Many wonderful projects to finish up!
- October 10, 2008 at 4:56 PM
- Hilary said...
I'm in love with your doggy.
And your quilts look great too :) - October 10, 2008 at 4:56 PM
- jovaliquilts said...
No wonder Santa's so jolly, living in a village like that. Maybe this Christmas he'll bring you a table for that runner.
And definitely a polka dot binding! - October 10, 2008 at 5:17 PM
- Marie' said...
I can't get enough of your houses. They are so cute!!
- October 10, 2008 at 5:28 PM
- Exuberantcolor/Wanda S Hanson said...
Your style of applique is so whimsical. It looks like you are having a lot of fun. Polka dot binding sounds good.
- October 10, 2008 at 6:43 PM
- Kate said...
Love the houses - you can't go wrong with polks dots!
- October 10, 2008 at 6:46 PM
- One Shabby Chick said...
oh my goodness - those houses are so stinkin cute! I love Santa's village too.
- October 10, 2008 at 7:07 PM
- Sarah said...
i'm sure you wouldn't get as much done without your helper! and as for polka dot binding? ALWAYS! atleast in my book :^ )
- October 10, 2008 at 7:11 PM
- Amy said...
I had a chocolate lab. His name was Buddy. We rescued him from an unfortunate life when he was just over a year. He was my special friend. My first dog as an adult. I was a single girl and he was everything to me. We lost him when he was 11 to cancer. Now we are in the midst of watching his 'brother' grow old... I miss him. (Your quilt tester is a chocolate lab, yes?)
- October 10, 2008 at 7:13 PM
- Tina said...
looks like you've got lots of fun things to work on!
- October 10, 2008 at 7:27 PM
- Karen said...
I love a-l-l of your little houses...they're all sooooo charming;)
- October 10, 2008 at 7:32 PM
- Madge said...
can i be you?
- October 10, 2008 at 8:11 PM
- KateKwiltz said...
Yay for dots!
Your houses are TOO cute! I'd live there! With your dog! - October 10, 2008 at 8:17 PM
- ellen said...
Oh, look at that chocolate colored dog. How sweet and how wonderful to have him in your life. Love the top blocks..looks like another city with little inroads to me, where people can say, "Hi, how ya doing? May I borrow a cup of sugar? Do you have a stick of butter?"
- October 10, 2008 at 8:19 PM
- QuiltedSimple said...
You've got a lot going - but I KNOW you'll get it all done and it will be wonderful in Jacquie fashion! Have a good weekend!
Kris - October 10, 2008 at 8:37 PM
- Erika said...
I love how tour runner come out it looks great and your red square quilt id just beautiful I really like it.
Beautiful projects you have going on
Erika - October 10, 2008 at 8:43 PM
- Alissa said...
Everything looks so so great! You're inspiring!
- October 10, 2008 at 9:14 PM
- MichelleB said...
It is all such wonderful stuff! You have such an eye.
- October 10, 2008 at 9:45 PM
I love raw edge applique!! Lx
- October 10, 2008 at 10:44 PM
- The DO said...
Look at you go with your applique! Your stuff is freaking adorable:) Just like Jacquie to be nervous about a new skill and then master it! Whoo and Hoo:)-
- October 10, 2008 at 10:55 PM
- Kathleen said...
The strawberry one has turned out beautifully Jacquie and teh others look like a lot of fun as does the dog!
- October 10, 2008 at 11:00 PM
- Unknown said...
I love them all! You inspire me!
- October 10, 2008 at 11:36 PM
- Stephanie D said...
Adorable, as usual! Santa's village is especially cute!
And Fudge can come visit Tandi and me anytime! - October 10, 2008 at 11:55 PM
- Sharon said...
I can't believe that your profile says you're a beginning quilter! I think you're kidding us. What great designs! Santa's village is so adorable! And the little houses are pretty darn cute too! Wow!
And what a sweetie Fudge is! - October 11, 2008 at 1:15 AM
- Allie said...
I love all the houses!
- October 11, 2008 at 2:01 AM
- MightyMom said...
definitely polka dots!
he's cute! funny thing my cat will insist on laying in the middle of whatever quilt I'm working on....but once it's finished...she doesn't have much to do with it at all. - October 11, 2008 at 2:08 AM
Oooohhhh, the connections quilt will be absolutely stunning! I'm hoping it is #1 on your to do list - I can't wait to see the finished result!
- October 11, 2008 at 4:29 AM
- Beth said...
Love Santa's Village. Could be a cute way of doing an advent calendar with the addition of pockets. HMMM...
- October 11, 2008 at 6:48 AM
- Mama Spark said...
I love your raw edge stuff. Santa's workshop is too cute! Where do you find such cute fabric??
- October 11, 2008 at 7:28 AM
- Cathi said...
Love the little houses!! And polka dot binding sounds super!
- October 11, 2008 at 7:39 AM
- Regi said...
Can your quilt tester come visit my sock eater (a 1.5 yr old cairn terrier with an unhealthy obession with socks)? Maybe Jasper can learn a few things and be a quilt tester too. LOL
I love the projects.. cant wait to see how they turn out and polka dots sound wonderful. - October 11, 2008 at 8:22 AM
- audreypawdrey said...
The houses are adorable! I really love how whimsical and happy they are. The strawberry table runner is also super cute!
- October 11, 2008 at 9:16 AM
- Abby and Stephanie said...
Great projects. LOVE Santa's village! Yes, polka dot binding.
- October 11, 2008 at 10:45 AM
- Tine said...
Busy busy busy! I like the way you finished the strawberry runner. It looks really nice :-)
- October 11, 2008 at 12:17 PM
- em's scrapbag said...
Your houses are so cheerful. Love the pic of your dog. What a good tester, and he works cheap.
- October 11, 2008 at 1:39 PM
- Annie said...
I am loving this work that you are doing. Very arty.
- October 11, 2008 at 6:09 PM
- Rachel said...
I'm really loving all the quilts in this post - you have a great eye for combining colors and patterns!
- October 11, 2008 at 6:39 PM
- Laurie said...
glad you got some quilting done...i got fabric washed...tomorrow i crank out 18 blocks! WOOHOO...once i wake up it's shower and head ot the quilting studio! YESSSSSSSSSSSSSS
laurie - October 11, 2008 at 7:33 PM
- Amanda Jean said...
love your santa's workshop. you are making me want to try raw edge applique.
- October 11, 2008 at 9:03 PM
Gosh, your projects are just wonderful! I am impressed!
- October 11, 2008 at 10:36 PM
- Peg - Happy In Quilting said...
Jacquie...you just blow me away, your work is just totally amazing...I love it, all of it....
- October 12, 2008 at 1:44 AM
- Liz said...
You are going to have fun finishing all those. The Santa's Workshop is so cute - I love it.
- October 12, 2008 at 7:15 AM
Aahh...Santa!! make me think Cristmast is coming soon in 2 months. Love your projects!
Since you're an expert in quilting, would you please visit my blog and make a comment on my first project. I'm not sure to the colors I had chosen (I'm pretty confused now to choose the fabric's color for the connection between blog (sashing?), maybe you could (please..) give a comment on it. Thanks. - October 12, 2008 at 8:51 AM
- Jodi Nelson said...
Was going to read through your comments, but my heck there's a lot. I vote for the floral on the house roof for the binding. ;o) The Santa's workshop is so DANG CUTE! I echo Madge; "can I be you" ;o) Your profile say's you're a beginning quilter?! O.K. time to change that one. I have a long dining room table. Just in case you wanted to know. LOL. ooxx`jod
- October 12, 2008 at 10:37 AM
- Meagan said...
I am truly digging a) the top red and white Denise Schmidt-esq quilt top, and b) your dog. Both look fun to snuggle up with :)
- October 12, 2008 at 11:03 AM
I love you houses, Jacquie! I have to make some too. Have a great day.
- October 12, 2008 at 12:59 PM
- Unknown said...
That's a manageable to do list! Love santa's workshop :)
- October 12, 2008 at 4:25 PM
- Lisa said...
OMG Jacquie! I love all your projects!!!!!!!
- October 13, 2008 at 4:20 AM
Wow you have been busy. I love the projects you are working on. So colorful.
- October 13, 2008 at 9:44 AM
- Qubie said...
Wow what neat little projects. The fabric just make it. Where do you get your fabrics?
- October 13, 2008 at 10:34 AM
- Nanette Merrill said...
Love love the santa's workshop and the little houses. They are soo darling! You are clever and your blog is always so inspiring.
- October 13, 2008 at 11:09 AM
- Rebekah said...
love the projects...you're getting me in the mood to make Christmas stuff
- October 13, 2008 at 7:54 PM
- Leanne said...
I hope he gets paid well he looks like he is doing a great job.
- October 17, 2008 at 5:06 PM
- Amy said...
He could finish off a LOT of scooby snacks! good thing you've lots of quilts that need testing. :) Your living room with the pillows looks amazing! Your work is an inspiration. I gotta get me a quilt tester... that must be the trick.
- October 18, 2008 at 7:35 AM


text:
Oracle interMedia User's Guide and Reference Release 9.0.1 Part Number A88786-01 |
This chapter explains, at a high level, why and how to use content-based retrieval. It covers the following topics:
Inexpensive image-capture and storage technologies have allowed massive collections of digital images to be created. However, as an image database grows, the difficulty of finding relevant images increases. Two general approaches to this problem have been developed, both of which use metadata for image retrieval:
With interMedia, you can combine both approaches in designing a table to accommodate images: use traditional text columns to describe the semantic significance of the image (for example, that the pictured automobile won a particular award, or that its engine has six or eight cylinders), and use the ORDImage type for the image, to permit content-based queries based on intrinsic attributes of the image (for example, how closely its color and shape match a picture of a specific automobile).
As an alternative to defining image-related attributes in columns separate from the image, a database designer could create a specialized composite data type that combines interMedia and the appropriate text, numeric, and date attributes.
The primary benefit of using content-based retrieval is reduced time and effort required to obtain image-based information. With frequent adding and updating of images in massive databases, it is often not practical to require manual entry of all attributes that might be needed for queries, and content-based retrieval provides increased flexibility and practical value. It is also useful in providing the ability to query on attributes such as texture or shape that are difficult to represent using keywords.
Examples of database applications where content-based retrieval is useful -- where the query is semantically of the form, "find objects that look like this one" -- include:
For example, a Web-based interface to a retail clothing catalog might allow users to search by traditional categories (such as style or price range) and also by image properties (such as color or texture). Thus, a user might ask for formal shirts in a particular price range that are off-white with pin stripes. Similarly, fashion designers could use a database with images of fabric swatches, designs, concept sketches, and finished garments to facilitate their creative processes.
A content-based retrieval system processes the information contained in image data and creates an abstraction of its content in terms of visual attributes. Any query operations deal solely with this abstraction rather than with the image itself. Thus, every image inserted into the database is analyzed, and a compact representation of its content is stored in a feature vector, or signature.
The signature for the image in Figure 2-1 is extracted by segmenting the image into regions based on color as shown in Figure 2-2. Each region has associated with it color, texture, and shape information. The signature contains this region-based information along with global color, texture, and shape information to represent these attributes for the entire image. In Figure 2-2, there are a total of 55 shapes (patches of connected pixels with similar color) in this segmented image. In addition, there is also a "background" shape, which consists of small disjoint dark patches. These tiny patches (usually having distinct colors) do not belong to any of their adjacent shapes and are all classified into a single "background" shape. This background shape is also taken into consideration for image retrieval.
Images are matched based on the color, texture, and shape attributes. The positions of these visual attributes in the image are represented by location. Location by itself is not a meaningful search parameter, but in conjunction with one of the three visual attributes represents a search where the visual attribute and the location of that visual attribute are both important.
The signature contains information about the following visual attributes:
Feature data for all these visual attributes is stored in the signature, whose size typically ranges from 3000 to 4000 bytes. For better performance with large image databases, you can create an index based on the signatures of your images. See Section 2.4 for more information on indexing.
Images in the database can be retrieved by matching them with a comparison image. The comparison image can be any image inside or outside the current database, a sketch, an algorithmically generated image, and so forth.
The matching process requires that signatures be generated for the comparison image and each image to be compared with it. Images are seldom identical, and therefore matching is based on a similarity-measuring function for the visual attributes and a set of weights for each attribute. The score is the relative distance between two images being compared. The score for each attribute is used to determine the degree of similarity when images are compared, with a smaller distance reflecting a closer match, as explained in Section 2.3.3.
Color reflects the distribution of colors within the entire image.
Color and location specified together reflect the color distributions and where they occur in the image. To illustrate the relationship between color and location, consider Figure 2-3.
Image 1 and Image 2 are the same size and are filled with solid colors. In Image 1, the top left quarter (25%) is red, the bottom left quarter (25%) is blue, and the right half (50%) is yellow. In Image 2, the top right quarter (25%) is blue, the bottom right quarter (25%) is red, and the left half (50%) is yellow.
If the two images are compared first solely on color and then color and location, the following are the similarity results:
Thus, if you need to select images based on the dominant color or colors (for example, to find apartments with blue interiors), give greater relative weight to color. If you need to find images with common colors in common locations (for example, red dominant in the upper portion to find sunsets), give greater relative weight to location.
Figure 2-4 shows two images very close in color. Figure 2-5 shows two images very close in both color and location.
Texture reflects the texture of the entire image. Texture is most useful for full images of textures, such as catalogs of wood grains, marble, sand, or stones. These images are generally hard to categorize using keywords alone because our vocabulary for textures is limited. Texture can be used effectively alone (without color) for pure textures, but also with a little bit of color for some kinds of textures, like wood or fabrics. Figure 2-6 shows two similar fabric samples.
Texture and location specified together compare texture and location of the textured regions in the image.
Shape represents the shapes that appear in the image. Shapes are determined by identifying regions of uniform color.
Shape is useful to capture objects such as horizon lines in landscapes, rectangular shapes in buildings, and organic shapes such as trees. Shape is very useful for querying on simple shapes (like circles, polygons, or diagonal lines) especially when the query image is drawn by hand and color is not considered important when the drawing is made. Figure 2-7 shows two images very close in shape.
Shape and location specified together compare shapes and location of the shapes in the images.
When you match images, you assign an importance measure, or weight, to each of the visual attributes, and interMedia calculates a similarity measure for each visual attribute.
Each weight value reflects how sensitive the matching process for a given attribute should be to the degree of similarity or dissimilarity between two images. For example, if you want color to be completely ignored in matching, assign a weight of 0.0 to color; in this case, any similarity or difference between the color of the two images is totally irrelevant in matching. On the other hand, if color is extremely important, assign it a weight greater than any of the other attributes; this will cause any similarity or dissimilarity between the two images with respect to color to contribute greatly to whether or not the two images match.
Weight values can be between 0.0 and 1.0. During processing, the values are normalized such that they total 1.0. The weight of at least one of the color, texture, or shape attributes must be set to greater than zero. See Section 2.3.3 for details of the calculation.
The similarity measure for each visual attribute is calculated as the score or distance between the two images with respect to that attribute. The score can range from 0.00 (no difference) to 100.0 (maximum possible difference). Thus, the more similar two images are with respect to a visual attribute, the smaller the score will be for that attribute.
As an example of how distance is determined, assume that the dots in Figure 2-8 represent scores for three images with respect to two visual attributes, such as color and shape, plotted along the x-axis and y-axis of a graph.
For matching, assume Image 1 is the comparison image, and Image 2 and Image 3 are each being compared with Image 1. With respect to the color attribute plotted on the x-axis, the distance between Image 1 and Image 2 is relatively small (for example, 15), whereas the distance between Image 1 and Image 3 is much greater (for example, 75). If the color attribute is given more weight, then the fact that the two distance values differ by a great deal will probably be very important in determining whether or not Image 2 and Image 3 match Image 1. However, if color is minimized and the shape attribute is emphasized instead, then Image 3 will match Image 1 better than Image 2 matches Image 1.
In Section 2.3.2, Figure 2-8 showed a graph of only two of the attributes that interMedia can consider. In reality, when images are matched, the degree of similarity depends on a weighted sum reflecting the weight and distance of all three of the visual attributes in conjunction with location of the comparison image and the test image.
For example, assume that for the comparison image (Image 1) and one of the images being tested for matching (Image 2), Table 2-1 lists the relative distances between the two images for each attribute. Note that you would never see these individual numbers unless you computed three separate scores, each time highlighting one attribute and setting the others to zero. For simplicity, the three attributes are not considered in conjunction with location in this example.
Visual Attribute | Distance |
Color |
15 |
Texture |
5 |
Shape |
50 |
In this example, the two images are most similar with respect to texture (distance = 5) and most different with respect to shape (distance = 50).
Assume that for the matching process, the following weights have been assigned to each visual attribute:
The weights are supplied in the range of 0.0 to 1.0. Within this range, a weight of 1 indicates the strongest emphasis, and a weight of 0 means the attribute should be ignored. The values you supply are automatically normalized such that the weights total 1.0, still maintaining the ratios you have supplied. In this example, the weights were specified such that normalization was not necessary.
The following formula is used to calculate the weighted sum of the distances, which is used to determine the degree of similarity between two images:
weighted_sum = color_weight * color_distance + texture_weight * texture_distance + shape_weight * shape_distance+
The degree of similarity between two images in this case is computed as:
0.7*c_distance + 0.2*tex_distance + 0.1*shape_distance
Using the supplied values, this becomes:
(0.7*15 + 0.2*5 + 0.1*50) = (10.5 + 1.0 + 5.0) = 16.5
To illustrate the effect of different weights in this case, assume that the weights for color and shape were reversed. In this case, the degree of similarity between two images is computed as:
0.1*c_distance +0.2*tex_distance + 0.7*shape_distance
That is:
(0.1*15 + 0.2*5 + 0.7*50) = (1.5 + 1.0 + 35.0) = 37.5
In this second case, the images are considered to be less similar than in the first case, because the overall score (37.5) is greater than in the first case (16.5). Whether or not the two images are considered matching depends on the threshold value (explained in Section 2.3.4). If the weighted sum is less than or equal to the threshold, the images match; if the weighted sum is greater than the threshold, the images do not match.
In these two cases, the correct weight assignments depend on what you are looking for in the images. If color is extremely important, then the first set of weights is a better choice than the second set of weights, because the first set of weights grants greater significance to the disparity between these two specific images with respect to color. The two images differ greatly in shape (50) but that difference contributes less to the final score because the weight assigned to the attribute shape is low. With the second set of weights, the images have a higher score when shape is assigned a higher weight and the images are less similar with respect to shape than with respect to color.
When you match images, you assign a threshold value. If the weighted sum of the distances for the visual attributes is less than or equal to the threshold, the images match; if the weighted sum is greater than the threshold, the images do not match.
Using the examples in Section 2.3.3, if you assign a threshold of 20, the images do not match when the weighted sum is 37.5, but they do match when the weighted sum is 16.5. If the threshold is 10, the images do not match in either case; and if the threshold is 37.5 or greater, the images match in both cases.
The following example shows a cursor (getphotos) that selects the photo_id, annotation, and photo from the Pictures table where the threshold value is 20 for comparing photographs with a comparison image:
CURSOR getphotos IS SELECT photo_id, annotation, photo FROM Pictures WHERE ORDSYS.IMGSimilar(photo_sig, comparison_sig, 'color="0.4",
texture="0.10", shape="0.3", location="0.2"', 20)=1;
Before the cursor executes, the generateSignature( ) method must be called to compute the signature of the comparison image (comparison_sig), and to compute signatures for each image in the table. Chapter 8 describes all the operators, including IMGSimilar and IMGScore.
The number of matches returned generally increases as the threshold increases. Setting the threshold to 100 would return all images as matches. Such a result, of course, defeats the purpose of content-based retrieval. If your images are all very similar, you may find that even a threshold of 50 returns too many (or all) images as matches. Through trial and error, adjust the threshold to an appropriate value for your application.
You will probably want to experiment with different weights for the visual attributes and different threshold values, to see which combinations retrieve the kinds and approximate number of matches you want.
A domain index, or extensible index, is an approach for supporting complex data objects. The Oracle database and interMedia cooperate to define, build, and maintain an index for image data. This index is of type ORDImageIndex. Once it is created, the index automatically updates itself every time an image is inserted or removed from the database table. The index is created, managed, and accessed by routines supplied by the index type.
For better performance with large image databases, you should always create and use an index for searching through the image signatures. The default search model compares the signature of the query image to the signatures of all images stored in the database. This works well for simple queries against a few images such as, "Does this picture of an automobile match the image stored with the client's insurance records?" However, if you want to compare that image with thousands or millions of images to determine what kind of vehicle it is, then a linear search though the database would be impractical. In this case, an index based on the image signatures would greatly improve performance.
Assume you have a table T containing fabric ID numbers and pattern photographs and signatures:
CREATE TABLE T (fabric_id NUMBER, pattern_photo ORDSYS.ORDIMAGE, pattern_ signature ORDSYS.ORDImageSignature);
Load the table with images, and process each image using the generateSignature( ) method to generate the signatures.
Once the signatures are created, the following command creates an index on this table, based on the data in the pattern_photo
CREATE INDEX idx1 ON T(pattern_signature) INDEXTYPE IS ORDSYS.ORDIMAGEINDEX PARAMETERS ('ORDImage_Filter_Tablespace = <name>,ORDImage_Index_Tablespace = <name>');
The index name is limited to 24 or fewer characters.Foot 1 As with any Oracle table, do not use pound signs (#) or dollar signs ($) in the name. Also as usual, the tablespace must be created before creating the table.
The index data resides in two tablespaces. The first contains the actual index data, and the second is an internal index created on that data. See Section 3.3.11 for suggestions concerning the sizes of these tablespaces.
Finally, as with other Oracle indexes, you should analyze the new index as follows:
ANALYZE INDEX idx1 COMPUTE STATISTICS;
Two operators, IMGSimilar and IMGScore support queries using the index. The operators automatically use the index if it is present. See Section 8.2.3 for syntax information and examples.
The human mind is infinitely smarter than a computer in matching images. If we are near a street and want to identify all red automobiles, we can easily do so because our minds rapidly adjust for the following factors:
However, for a computer to find red automobiles (retrieving all red automobiles and no or very few images that are not red or not automobiles), it is helpful if all the automobile images have the automobile occupy almost the entire image, have no extraneous elements (people, plants, decorations, and so on), and have the automobiles pointing in the same direction. In this case, a match emphasizing color and shape would produce useful results. However, if the pictures show automobiles in different locations, with different relative sizes in the image, pointing in different directions, and with different backgrounds, it will be difficult to perform content-based retrieval with these images.
The following are some suggestions for selecting images or preparing images for comparison. The list is not exhaustive, but the basic principle to keep in mind is this: Know what you are looking for, and use common sense. If possible, crop and edit images in accordance with the following suggestions before performing content-based retrieval:
1 The standard Oracle restriction is 30 characters for table or index names. However, interMedia requires an extra 6 characters for internal processing of the domain index.
Copyright © 1996-2001, Oracle Corporation. All Rights Reserved. |


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Aw yeah, we're living on the ledge. We've been waiting to hang our postcard shelves from our first house's office for over two years and we finally found the right spot for them. Ba-dow:
We detailed the whole how-we-made-them process here (you should click that just to see how tiny Clara was) so here's how we adapted them for this space:
- we measured how wide the dresser that would sit under them was (we thought they'd look top-heavy and odd if they were a foot longer, which they were at first)
- we lopped off the extra length on a miter saw, so they were all 2″ narrower than the dresser that sits under them
- we hung the first one (the lowest one) 16″ above the dresser after holding it up in a few different heights and deciding it looked best there (using a level to be sure it wasn't wonky)
- we used long-ish screws (2.5″ guys) in three places to hold them nice and securely (anchors would be necessary for shelves with heavy items on them, but for small light shelves that hold small items like postcards, screws can easily do the job). Oh but we already had predrilled holes in the shelves so the screws could go right through them and hold them in place. So for more info on that click here for the full postcard-ledge-hanging rundown.
- there were some high-fives along the way
- we taped a yardstick to the wall (we used a level to be sure it was perpendicular to the floor) so we could use that as a guide to hang the left edge of all of them
- we hung each shelf on the wall with 9″ of space between each one (there was more bean-help and a few more high fives).
- we stepped back and enjoyed the view…
Then I broke out two things I've been hoarding saving for a nice long time.
Clara loves both of these boxes of flash cards, so I've been waiting not-so-patiently to hang the postcard shelves and rename them as… flash card shelves!
It's a crazy easy way to add inexpensive art/color/interest plus there are even letters and words on them, so it's a subtle little learning zone for Clara. She already gets a kick out of counting the number of animals on each shelf, finding specific ones that John or I call out, and even learning the first letter in many of their names (she woke up the other day and said "F is for Flamingo!" loud and proud as I lifted her out of her crib).
One more picture. Because I'm a flash card ledge fiend.
What are you guys cutting/leveling/hanging these days? Do you like to hang things from your first house in a different way or put a new twist on old art/shelves/ledges in a new space? Not gonna lie, it's pretty fun to tweak something you already have for a whole new room and function. And I'm also pretty proud of myself for not droning on and on for once. 493 words in this post. Wooot! $herdog's keeping it klassy koncise.


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Lambda Legal is the oldest and largest legal organization in the nation dedicated to the full recognition of the civil rights of lesbians, gay men, bisexuals, transgender people and those with HIV/AIDS.
Our precedent-setting lawsuits directly impact hundreds of thousands of people nationwide. Through these cases and our public education and policy advocacy, Lambda Legal's work covers a wide range of issues, including: relationship recognition and benefits; discrimination in employment, housing, public accommodations and the military; HIV/AIDS-related discrimination; family and youth issues; immigration issues; and antigay initiatives.
Spend some time at Lambda Legal's online community and find out how you can join us in the fight for full equality for LGBT people and those with HIV across the country.


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Flying into Denver International Airport (DEN) is the best option for a Winter Park ski vacation. The resort is a quick 90 miles from DEN, which is a non-stop destination for more than 21 domestic and international airlines.
If you opt for a rental car, you'll want to follow signs for I-70 W out of the airport terminal. Merge onto I-70 W and drive for about 40 miles. Take exit 232 to Winter Park/Empire/Granby. Drive over spectacular Berthoud Pass for about 25 miles. The resort will be on your left.
To learn more about how to get to Winter Park call, or chat with, one of Ski.com's knowledgeable Mountain Vacation Specialists.


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One of the all-time classic shoes, everyone knows the SCARPA Helix. This is the latest incarnation and it remains one of the most popular shoes in the line. The original, classic randing of a flat profile over a relatively symmetrical footprint are all retained. Now we see more comfort and refinement built into the shoe than ever before with addition of a padded tongue, and a heel cup that is inherited from the more advanced Techno family. Improved adjustability of fit is a new feature with lacing that runs further down toward the toe. The Helix upgrade is completed with the addition of Vibram® XS Edge rubber.
- Upper: Suede
- Midsole: Flexan 1.4mm
- Sole: Vibram XS Edge; 3.5mm
- Last: ED
- Sizes: 34.5 – 42(half sizes)
- Weight: 200g; 7.1oz (1/2 pair size 38)
- Product Code: 70005/002
- Made in Europe


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How big data is transforming the construction industry
Big data analytics is being adopted at a rapid rate across every industry. It enables businesses to manage and analyze vast amounts of data at ultrafast speeds, and obtain valuable insights that can improve their decision-making processes.
One of the industries that are reaping the benefits of this technology is the construction industry. Construction companies are using big data to perform a wide range of tasks, from data management to pre-construction analysis.
Here is a look at how big data is transforming the construction industry?
How Construction Companies are Leveraging Big Data Analytics
Handling Large Amounts of Data
Many construction companies need to juggle many projects at the same time, and they have to collect, produce, organize and analyze a lot of data because of these projects.
Other than creating work reports and progress reports, they also have to manage technical information on various aspects of their projects. All the unstructured data that is collected and generated can burden their databases.
Big data solutions make it possible for construction companies to process massive amounts of data at unprecedented speeds, enabling them to save substantial time and effort, and focus more on the job site instead of IT issues.
Depending on which big data tools they use, they can improve almost every data-related process, from database management to report creation.
According to an article entitled "How Big Data is Transforming the World of Finance", big data can help businesses create reports on their operations more frequently, or in real time, so that they can make well-informed decisions on a consistent basis.
Predicting Risk
In order to plan and execute projects effectively, construction companies need to be able to predict risks accurately through intelligent use of data.
By implementing big data analytics, they can gain valuable insights that enable them to improve cost certainty, identify and avoid potential problems, and find opportunities for efficiency improvements.
One example of a construction company that is using big data analytics to predict risk is Democrata.
Democrata conducts surveys to gain a better understanding of the impact of new roads, high rail links and other construction projects, and uses big data analytics to perform searches and queries on data sets to obtain insights that can lead to better and faster decision-making.
Solving Problems
The ability to solve problems quickly can contribute significantly to the successful completion of construction projects.
Liberty Building Forensics Group is a company that investigates and solves construction and design problems, and it has provided consultation on over 500 projects worldwide, including a Walt Disney project.
According to the company, forensic issues usually occur in major construction projects, and they can cause big problems, such as failure to meet deadlines, if they are not properly assessed.
In order to fix forensic issues efficiently, construction companies have to be able to collect the right data in an organized way and make the data accessible to the right people at the right time. This can be achieved through the implementation of big data solutions.
Presently, big data analytics is relatively immature in terms of functionality and robustness.
As it continues to become more advanced, it will be more widely adopted in the construction industry.
John McMalcolm is a freelance writer who writes on a wide range of subjects, from social media marketing to technology.
It?s been another active season here at BUILD World Headquarters. Summer?s officially over as of today, and a lot has been going on in our world since the spring update. As we gear up for the final few months of this year, we?re excited for the opportunities bubbling up as well as the projects and relationships that continue to develop.
A new residential project popped up on our radars, and we?re just getting our feet wet in the early schematic designs at the moment. A gorgeous site in Bellevue with views back towards Lake Washington and the shores of Seattle.