Cultural analytics is the exploration and research of massive cultural data sets of visual material – both digitized visual artifacts and contemporary visual and interactive media. Taking on the challenge of how to best explore large collections of rich cultural content, cultural analytics researchers developed new methods and intuitive visual techniques which rely on high-resolution visualization and digital image processing. These methods are used to address both the existing research questions in humanities, to explore new questions, and to develop new theoretical concepts which fit the mega-scale of digital culture in the early 21st century.
Visual data analysis blends highly advanced computational methods with sophisticated graphics engines to tap the extraordinary ability of humans to see patterns and structure in even the most complex visual presentations. Currently applied to massive, heterogeneous, and dynamic datasets, such as those generated in studies of astrophysical, fluidic, biological, and other complex processes, the techniques have become sophisticated enough to allow the interactive manipulation of variables in real time. Ultra high-resolution displays allow teams of researchers to zoom in to examine specific aspects of the renderings, or to navigate along interesting visual pathways, following their intuitions and even hunches to see where they may lead. New research is now beginning to apply these sorts of tools to the social sciences and humanities as well, and the techniques offer considerable promise in helping us understand complex social processes like learning, political and organizational change, and the diffusion of knowledge.
While increased computing power and technical developments allowing for interaction visualization have made the exploration of large data sets using visual presentations possible, the intellectual drive to understand cultural and social processes and production pre-dates many of these computational advances. Charles Joseph Minard's famous dense graphic showing Napoleon's March on Moscow (1869) offers a 19th-century example. More recently, Pierre Bourdieu's historical survey of the cultural consumption practices of mid-century Parisians, documented in La Distinction, foregrounds the study of culture and aesthetics through the lens of large data sets. Most recently, Franco Moretti's Graphs, maps, trees: abstract models for a literary history. along with many projects in the Digital Humanities reveal the benefit of large scale analysis of cultural material.
To date, cultural analytics techniques have been applied to films, animations, video games, comics, magazines, books, and other print publications, artworks, photos, and a variety of other media content. The technology used ranges from open-source programs downloadable on any personal computer to supercomputer processing and large-scale displays such as the HIPerSpace (42,000 x 8000 pixels).
Cultural analytics relies heavily on software-based tools, and the field is related to the nascent discipline of software studies. While the objects of a cultural analytical approach are often digitized representations of the work, rather than the work in its original material form, the objects of study need not be digital works in themselves.
↑ "Four to Five Years: Visual Data Analysis". 2010 Horizon Report. The New Media Consortium.
↑ Moretti, Franco (2005). Graphs, maps, trees: abstract models for a literary history. Verso. p. 119. ISBN 1-84467-026-0.
James Willford. Graphing Culture. Humanities (a publication of National Endowment of Humanities.) March/April 22, number 2, 2011.


Site 01 of Bahria Heights Karachi is located between the roundabout of Precinct 6, Precinct 7, Precinct 8 and Precinct 10. It consist of total 8 Towers.
Site 02 of Bahria Heights Karachi is located at the junction of Precinct 8, Precinct 9 and Grand Jamia Mosque. It consist of total 4 Towers.
Site 03 of Bahria Heights Karachi is located inside Precinct 17. It consist of total 4 Towers.


Welcome to July 26 MLB DFS action here at DailyRoto. Below you'll find our Daily Fantasy Baseball Premium podcast for July 26 MLB DFS along with our LIVE Premium Chat and cliff notes. Make sure you're using our customizable projections tool, you're actively participating in the live chat, and you're reviewing the cliff notes to supplement your research and roster construction process. Very best of luck in tonight's action!
Wednesday's evening slate brings us another congested set of starting pitching options. Our top tier includes Carlos Martinez (STL), Yu Darvish (TEX), Mike Fiers (HOU), and Jake Arrieta (CHC). Martinez is the one with the nice price tag on both sites ($8,400 on DraftKings, $8,900 on FanDuel) and he draws one of the more favorable matchups against the 29th ranked offense in wRC+ against RHP. Martinez, like teammate Lance Lynn, has wider platoon splits and the Rockies were kind enough to roll out a lineup with just three LHBs yesterday. Our guess is that number will bump up to four with Tony Wolters likely catching but it's still just one above average LHB in Charlie Blackmon. In addition to the strong matchup, Martinez has seen his velocity rise over his last few starts. Using our pitcher trends tool, Martinez's average fastball velocity is up to 96.81 mph over the last five starts compared to 95.98 on the season. The drawback to Martinez is the weather in St. Louis. Forecasted temperatures in the 90s make it an ideal environment for hitting, but the Rockies still have an implied total of just 3.8. With Darvish, Fiers, and Arrieta all priced dramatically above Martinez on DraftKings, we view CarMart as a cash game staple. On FanDuel, Mike Fiers is a little cheaper and the price hasn't adjusted for his incredible recent performance. We've noted the last few times out Fiers changed his repertoire on May 14th incorporating a two-seam fastball and since then he's posted a 2.79 ERA, 1.14 WHIP, and 81 K in 77 ⅓ innings over 13 starts. The results have been so drastically different that it's difficult to find the appropriate baselines but when the price hasn't adjusted it's easy to see him as a strong value. He gets a shift to the National League and faces a Phillies' offense that ranks 28th in wRC+ against RHP with a 23.5 K Rate that is above the league average. Fiers is a bit pricier on DraftKings but on FanDuel he and Martinez are superb cash game targets.
Finding a pairing for Martinez is a bit less clear on DraftKings and is a bit more like a "choose your own adventure book". The options aren't bad, they just very significantly in price tag. On the cheap end of the spectrum, Marco Estrada (TOR) has been horrific for the last seven weeks (1-9 in quality starts) but he's got a strikeout rate over 24 percent and is just $5,800. The A's are a boom-or-bust matchup for Estrada. They rank seventh in wRC+ against RHP with an ISO that is inside the Top Five, but they also strike out 25.3 percent of the time. Estrada's velocity has held steady during this stretch as has his batted ball profile, the one area he's been hurt is walks. While the recent performance is terrifying, it's also been at the hands of a brutal schedule (@CLE, @DET, @NYY, BOS, @KC, @TEX, TB, @OAK, NYY, TEX). With plenty of other options we view Estrada as a prime GPP target but a shaky cash game option. The next cheaper option is Steven Matz (NYM) who gets the woeful Padres in San Diego. Matz has also struggled a bit of late with the velocity creeping back down (92.7 last start) after peaking at 94.4 in early July. The Padres rank 29th in wRC+ against LHP with a 25.7 K Rate. It's an ideal matchup for Matz to get back on track and the price tag is manageable at $7,700. If you're uncomfortable with these two salary relief options to pair with Martinez, Jake Arrieta (CHC) ($9,300) gets the 27th ranked White Sox offense against RHP in wRC+. The league shift and park shift are negatives for Arrieta but a primarily RH heavy lineup helps Arrieta tremendously. Even amid the struggles this season, he's held RHBs to a .289 wOBA, .145 ISO, and 27.6 hard hit rate while generating a 23 percent soft hit rate and 21.6 percent K Rate. Arrieta is a heavy favorite (-220) with a 3.9 implied total against.
In tournaments, Brock Stewart (LAD) is just above the minimum for the Dodgers ($4,100) and viable on DraftKings even with a reduced inning expectation. The Twins' offense isn't very potent and the Dodgers bullpen behind him should help mitigate runs against. It's just a matter of if Stewart can grind out double digits in a few innings of work. Jeff Hoffman (COL) is also a viable target against a RH heavy Cardinals' offense that is watered down. On FanDuel, Gio Gonzalez (WAS) is cheaper ($8,500) and gets the Brewers strikeout prone offense at home.
Get used to the Cubs' position players ranking as our top scorers in this slate. Willson Contreras (CHC) gets the conversation started. James Shields is a horrific pitcher, and the Cubs are facing them in a warmer environment. Contreras is a viable target across all formats on both sites.
Russell Martin (TOR) is a viable alternative around the industry. gets a stable lineup spot (second) and he's facing Paul Blackburn. Blackburn has a sub 10% K rate this season through four starts.
In tournaments, Salvador Perez (KC) and Alex Avila (DET) are intriguing upside targets. Perez gets a tasty matchup against a power prone pitcher (Anibal Sanchez). Avila is no longer hitting in a good lineup spot since he's been cold of late. Given the type of season he's having, it's fine to use him in tournaments vs. Ian Kennedy (.206 ISO allowed to the L500 LHBs he's faced).
Anthony Rizzo (CHC) is the top projected scorer in this slate regardless of position. He's pricey, but we're treating him as our primary cash game play in this slate. The Cubs have an IRT of 5.6 runs as they take on James Shields. Shields' run prevention is awful (5.79 ERA) and we expect him to be even worse (6.24 xFIP) since the luck stats have been in his favor thus far.
First base is always a position that's loaded with depth, and tonight is no different. Miguel Cabrera (DET) remains free on DK at $3,400 in a matchup vs. Ian Kennedy. Edwin Encarnacion (CLE) is facing Ricky Nolasco (allowed 15 ER over his L3 starts). Eric Hosmer (KC) has a decent price tag on FD and gets a matchup vs. Anibal Sanchez. Matt Carpenter (STL) has been cold but he's $3,600 on DK with the platoon edge. Yonder Alonso (OAK) is in Rogers Centre and gets Marco Estrada, who's been awful for over a month now. Kendrys Morales (TOR) is another freebie on DK ($3,300). Teammate Justin Smoak (TOR) is priced appropriately but he's been on a tear this season (30% HHR this season, 40.7% post ASB).
Ben Zobrist (CHC) carries second base eligibility over on DK, where he's the top projected scorer at the position. He's viable across all formats as the leadoff hitter for this Cubs offense.
Rougned Odor (TEX) and Jonathan Villar (MIL) are the best cost saving targets at the position. Odor's massive power upside meets a matchup against a pitcher that doesn't miss bats (Jose Urena) and temperatures will reach the mid 90s in Texas tonight. Villar should be in the lineup and hit leadoff vs. Gio Gonzalez, who's been quite lucky from a run prevention standpoint this season (2.83 ERA/4.31 xFIP).
Matt Carpenter (STL) (on FD) and teammate Paul DeJong (STL) (on DK) are viable tournament alternatives against a pitcher that's been fading lately (Jeff Hoffman). Brian Dozier (MIN) can be thrown into that tournament mix as well (post ASB HHR is sitting at 35.5%).
Kris Bryant (CHC) is our top projected scorer at third base and second overall regardless of position. It's all hands on deck against James Shields, and the price tag on FD is a bit lower than usual ($3,700). Bryant's HHR is down this season relative to the L2 years, but all the peripherals have held steady. He's making more contact this season (19.7% K rate) than he ever has in his career.
Josh Donaldson (TOR) is the best alternative to Bryant, but his production is down this season. Donaldson is hitting more GBs this season (43%), and his hard hit rate is down. This is a terrific context though and you're not going to see big ownership here. We like this play in tournaments.
Jedd Gyorko (STL) allows you to save some salary on DK where he's $3,400. Hoffman's peripherals and results were already waning before his last start, then he got crushed for seven ERs. It'll be hot in St. Louis once again (high 80s temps).
Matt Chapman (OAK) and Manny Machado (BAL) are two DK specific plays that deserve consideration in tournaments.
Our priority at the shortstop position is to save salary. On DK, you can do this with Troy Tulowitzki (TOR). He's $2,900 facing arguably the worst pitcher on the slate. On FD, the conversation surrounds Elvis Andrus (TEX) and Marcus Semien (OAK). We'll side with Andrus slightly since he's hitting second for the offense with the highest IRT in this slate. Semien's HHR is down post ASB and he won't have the platoon edge, but Marco Estrada has been awful, especially of late (15 ER over his L3 starts).
We like Paul DeJong (STL) in tournaments and he could be stretched into the cash game conversation as well. DeJong's price tag is sub $3,000 on FD and the power upside so far has been substantial (.282 ISO backed up by a 44% FB rate and a 39% HHR through 179 career PAs). Corey Seager (LAD) and Francisco Lindor (CLE) are the pricey names with upside that can be considered in tournaments.
Kyle Schwarber (CHC) hits fifth and yet he's our top projected scorer in the OF. That's the type of boost that James Shields can provide to a projection in a good hitting environment. Schwarber's price tag is very accessible on both sites and he rates as a priority play. After Scharber we have the usual suspects, Bryce Harper (WSH) and Mike Trout (LAA). They're not necessary cash game plays but you could make an argument for Harper. He'll have the platoon edge, and if you're willing to play Brock Stewart as an SP2 on DK you have room to do whatever you'd like on offense.
The OF is loaded with quality values. Ben Zobrist (CHC) is $3,000 on FD and he's a leadoff hitter for the offense we like the most in this slate. Jose Bautista (TOR) is cheap on both sites and has a matchup against a pitcher with an underwhelming K rate. Nomar Mazara (TEX) is free on DK ($3,100). Bradley Zimmer (CLE) is $2,700 on FD and he's coming off a monster night where he flashed his event upside (one HR, two SBs). Lorenzo Cain (KC) is sub $4,000 on DK and he's facing Anibal Sanchez. Josh Reddick (HOU) continues to have a strong price tag on FD though this time around the Astros have a more challenging matchup (Aaron Nola).
The Cubs are very clearly the chalk option on this slate and frankly they're a little difficult to get away from. Over his last five starts, James Shields has allowed a .451 wOBA, .336 ISO, and his K Rate has dropped from 15.7 to 12.3. The Cubs have the highest composite hard hit rate over the last 15 days and they're affordable. This is a slate we're stacking Cubs in cash games and we'd still recommend using lineups in tournaments with Cubs exposure as well.
The Rangers are the primary pivot from the Cubs chalk but it's not like we expect them to carry low ownership either. They went off last night and Jose Urena has struggled to miss bats at the major league level. The Blue Jays are the contrarian pivot. They're affordable. They fill positions that all the primary Cubs bats fill and they're facing Paul Blackburn who projects for a baseline K Rate below 15 percent.
This is a slate the Dodgers should get lost in the shuffle a bit against Ervin Santana. We've noted when Santana has bad starts, they're usually very bad. Santana's gone 13-20 in quality starts this season and in those 13 he's allowed two or less runs in all of them. In the seven starts that weren't quality starts, he allowed 5, 5, 6, 5, 7, 5, and 6 runs. Other contrarian options on the slate include the Cardinals and Royals.


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Transcription Service Provider Exposes PHI of Children's National Health System Patients
Home » Healthcare Data Privacy » Transcription Service Provider Exposes PHI of Children's National Health System Patients
Posted By HIPAA Journal on May 11, 2016
Washington D.C.-based Children's National Health System (CNHS) has alerted patients to a breach of their protected health information following an error by a transcription service provider which allowed patients' data to be indexed by the search engines. CNHS is one of a number of healthcare clients affected by the data breach.
Ascend Healthcare Systems was contracted by CNHS to transcribe physician's notes and was supplied with transcription documents in 2014; however, those documents could potentially have been accessed via search engines due to a misconfiguration with a File Transfer Protocol (FTP) site.
Transcription services were provided to CNHS by Ascend between May 1, 2014 and June 23, 2014; however, on February 25, 2016, CNHS discovered that some of its patients' data had been exposed online.
An investigation into the privacy breach was immediately launched and CNHS determined that for a period of one week in February, data were accessible via Google. The breach is understood to have lasted between February 19 and February 25, 2016.
The data stored in the transcription documents included patients' names, birth dates, prescribed medications, and notes made by physicians. The notes included medical diagnoses and prescribed treatments. Social Security numbers, medical insurance details, financial information, and credit card numbers were not exposed.
The only patients affected by the incident were those whose notes were sent to Ascend by CNHS between May 1 and June 23, 2014. According to the breach report submitted to the Department of Health and Human Services' Office for Civil Rights, 4,107 patients were affected by the privacy incident.
Upon discovery of the privacy breach, CNHS contacted Ascend and demanded action be taken to secure the data and ensure that access via the search engines was prevented. According to CNHS, when the contract with Ascend was terminated on June 23, 2014, Ascend was required to delete all of the data supplied by CNHS. Ascend has assured CNHS that all of data have been deleted and there is no further risk of exposure.
CNHS notified all affected patients of the privacy breach by mail on April 2016, and has not received any reports that data have been misused.
Healthcare Industry Web Application Attacks Have Increased by 51% in the Past Two Months

redpajama_set_name: RedPajamaCommonCrawl


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C:\Windows>netsh	interface	portproxy	add	v4tov6 ? Usage: add v4tov6 [listenport=]| [[connectaddress=]|] [[connectport=]|] [[listenaddress=]|] [[protocol=]tcp] Parameters: Tag Value listenport - IPv4 port on which to listen. connectaddress - IPv6 address to which to connect. connectport - IPv6 port to which to connect. listenaddress - IPv4 address on which to listen. protocol - Protocol to use. Currently only TCP is supported. Remarks: Adds an entry to listen on for IPv4 and proxy connect to via IPv6.
Converts a trace file to an HTML report.
Shows the current status of RAS ports.


In our Featured Interviewed, we took time out with the lovely Kairi from Silk & Bubbles, to share with us her story, some of her range and what makes these luxurious bridal gift boxes different from the rest!
In our Featured Interviewed, we took time out with the lovely sisters from Just For You Gift Boxes, Alysha & Danika, to share with us their story, some of their range and what makes Just For You different from the rest!
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With Mother's Day coming up, we thought it would be nice to catch up with some of our own 'mothers' here at Hamper Life, and have a chat to them about this special day!
In this special Mother's Day video, we ask some of our gifting specialists to share with us what being a mum and celebrating Mother's Day means to them. What are some of their fondest memories of their own mum and some gifts they have received from their kids in the past!
It's practically a given that you're going to be doing some serious spending throughout the year for amazing gifts for your loved ones, customers and clients.
From your parents, to your besties, to even your work clients/colleagues/staff, and you probably have a long list of people and occasions to shop for. Birthdays, anniversaries, celebrations, thank you gifts etc.
In our Featured Interviewed, we took time out with the lovely Susan from Boxed Indulgence, to share with us her products, some of her range and what makes Boxed Indulgence stand out from the rest!


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text:
[3] => 5-minutes-with-author-lucy-treloar
5 minutes with author Lucy Treloar
The Wolfe Island writer talked about Bridget Jones's Diary, the risk of suspense, and how to start writing a book.
By Joanita Wibowo
In 5 minutes with author, Over60 asks book writers about their literary habits and preferences. Next in this series is Lucy Treloar, a writer and teacher in creative writing. Her 2015 debut novel Salt Creek won the Indie Award for Best Debut, the ABIA Matt Richell Award and the Dobbie Award. She has also published her short fiction in Sleepers, Overland, Seizure and Best Australian Stories, and her non-fiction in outlets such as The Age, The Sydney Morning Herald, Meanjin, and Womankind. Her latest book Wolfe Island is out now.
Over60 talked with Treloar about Bridget Jones's Diary, the risk of suspense, and how to start writing a book.
Over60: What is your best writing tip?
Lucy Treloar: When you're starting a new book, the vastness of the project can feel overwhelming. It can help to narrow the focus to getting some words down, concentrating on the sentences for a while and on discovering voice, and let the daily achievement accumulate, giving you hope that one day there will be enough to make a book.
What book(s) are you reading right now?
I'm reading English filmmaker, artist and writer Derek Jarman's wonderful memoir, Modern Nature, in part about the garden he created on barren ground not far from a nuclear power station in Kent. And I'm also reading Elizabeth Smart's intensely poetic classic By Grand Central Station I Sat Down and Wept.
What was the last book that made you cry or laugh?
A book I dearly love to laugh at is Bridget Jones's Diary. As for crying, Karen Foxlee's Lenny's Book of Everything is lovely, but oh so sad.
Who is your favourite literary character?
Such a temptation to say Elizabeth Bennet, but I will resist. A character I often think about is Jack Broughton from Marilynne Robinson's novel Home. He's the black sheep of a large family, and has a tarnished glamour and elusive sadness that I'm always trying to understand. He's as opaque to himself as he is to readers, and yet utterly believable.
Which trope grinds your gears?
I don't mind any trope as long as it's well done and feels fresh in an author's hands. But plotting that relies too heavily on suspense to create narrative traction or reader investment at the expense of interesting characters is likely to lose me.
Is there any book by other writers that you wish you had written?
I discovered Denis Johnson's writing only last year, and read his novel Train Dreams several times in quick succession, each time more slowly, trying to absorb its lightness and density as well as its remarkable voice. Marilynne Robinson's extraordinary Housekeeping is a book I reread every few years. It's about orphans Ruth and Lucille and their strange coming of age in the care of their Aunt Sylvie.
Do you have any writing routine? If so, what does it look like?
I wake at 6am, and over a pot of tea handwrite in my notebook, then go into my studio and write using the handwritten notes as a jumping-off point for the day's writing. I stay there until I have at least a thousand new words, usually at around lunch. I often do a little more handwriting last thing, or fiddle around with writing on the computer in the afternoon or evening.
Which author(s) – living or deceased – would you most like to have dinner with?
A dinner with admired authors I've never met before sounds quite stressful, but I think I'd like to chat to English novelist Jane Gardam, whose work I love, especially The Hollow Land, my favourite comfort read. And perhaps listening in on a conversation someone else was having with Deborah Levy would be fun. She seems incapable of being boring.


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redpajama_set_name: RedPajamaGithub


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En arquitectura, tracería, palabra proveniente del Latín tractiare, es un elemento decorativo en cantería y también a veces en madera, formado por combinaciones de figuras geométricas. En la arquitectura gótica, primitivamente, la tracería se emplea para soportar el vidrio en ventanas, y posteriormente se amplía su utilización para articular y decorar rosetones, bóvedas, gabletes y pináculos o a cubrir superficies murales planas como la del coro.
Es utilizada por tanto cual para dividir en secciones de varias proporciones mediante barras de piedra o nervaduras de moldura las ventanas (o pantallas, paneles y bóvedas).

Existen dos tipos principales de tracería: la de placas y la posterior tracería de barras.  La evolución de la arquitectura románica a la gótica y sus cambios paulatinos, como el adelgazamiento de las paredes laterales y la ampliación de las ventanas, condujeron a la innovación de la tracería. El tipo más antiguo de tracería es la tracería de placa, que comenzó como aberturas que se perforaron en una losa de piedra. Luego se implementó la tracería de barras, derivada de la tracería de placas. Sin embargo, en lugar de una losa, las ventanas estaban definidas por montantes de piedra moldeada, que eran más livianos y permitían más aberturas y diseños intrincados.

Término
Fue un término utilizado por primera vez por el arquitecto inglés Christopher Wren, pero su aplicación se remonta al estilo románico aplicado a ventanas con una circunferencia colocada en la parte superior de la flecha del arco forma un lóbulo simple, este se multiplica posteriormente y aparece el trilobulado, cuatri y polilobulado.
El término probablemente se deriva de los pisos de trazado en los que se dispusieron los patrones complejos de las ventanas en la arquitectura gótica tardía.

Historia
Las ventanas de arco apuntado de los edificios góticos fueron inicialmente (finales del siglo XII-finales del XIII) ventanas ojivales, una solución típica del estilo gótico temprano o primer estilo apuntado y del gótico inglés temprano .  La tracería de placas fue el primer tipo de tracería que se desarrolló, desarrollándose en el  alto gótico .  Este alto gótico se distingue por las tracerías de barras, que permiten la apertura de ventanas mucho más grandes y el desarrollo de la tracería curvilínea, fluida y reticulada, lo que en última instancia contribuye al estilo Flamante.  Durante el gótico tardío en la mayor parte de Europa se desarrollaron patrones de tracería que se asemejaban al encaje, mientras que en Inglaterra el gótico perpendicular o de tercera punta se caracterizó por montantes y travesaños verticales más sencillos.  Esta tracería es práctica además de decorativa, porque las ventanas cada vez más grandes de los edificios góticos necesitaban el máximo apoyo contra el viento.

Tracería de placas

La tracería de placas, en la que las aberturas se perforaban en una pared delgada de sillares, permitía que el arco de una ventana tuviera más de una abertura, generalmente dos una al lado de la otra y separadas por enjutas de piedra plana. Luego, en las enjutas se esculpían figuras como un círculo o un trébol de cuatro hojas.  La tracería de placas alcanzó su apogeo de su sofisticación con las ventanas del siglo XII de la catedral de Chartres y en el rosetón "Dean's Eye" en la catedral de Lincoln .

La tracería de placas  es el tipo más antigua de tracería, típica de la arquitectura gótica de principios del siglo XIII. Se denomina así porque las luces individuales (las aberturas vidriadas de la ventana) tienen la apariencia de haber sido cortadas de una placa plana de mampostería. Las ventanas de las iglesias románicas eran normalmente bastante pequeñas, algo más altas que anchas y con un simple arco de medio punto ("segmentario") en la parte superior. Alrededor de la década de 1140, la ventana gótica de arco apuntado (empleada por el abad Suger para el rediseño del coro en St Denis ) comenzó a tomar el control.

A medida que los sistemas de contrafuertes y arbotantes de la arquitectura gótica temprana redujeron la necesidad estructural de amplias extensiones de muros gruesos, las aberturas de las ventanas crecieron progresivamente y, en lugar de tener solo una ventana muy grande por bahía (lo que crearía problemas para sostener el vidrio) se desarrolló la típica ventana temprana de 'doble lanceta más óculo ' de tracería de placas. Consiste en dos (a veces tres) aperturas altas y delgadas rematadas con arcos apuntados, con una abertura redonda o de trébol colocada encima de ellos, a menudo contenida dentro de un arco ciego que le da a todo el conjunto una forma de lanceta apuntada (ver el ejemplo de la Catedral de Soissons). Con este tipo de diseño, las enjutas (es decir, los espacios entre la parte superior de las ventanas de lanceta y el óculo) son solo una pared en blanco. Los aspectos prácticos de la construcción de tracería de ventanas de esta manera limitaron severamente la complejidad de los diseños que se podían producir y, aunque los diseños de tracería de placas evolucionaron a lo largo del siglo XII y principios del XIII, en la práctica, la única variación real fue en el número y tamaño de lancetas y en los tréboles, cuatrifolios y óculos utilizados para llenar los espacios por encima de ellos.

Los rosetones de las catedrales góticas tempranas y plenas, como  el del crucero norte de la catedral de Laon (década de 1170) o la fachada oeste en Chartres (c. 1210), también emplearon tracería de placas. Esto limitó en gran medida la cantidad total de luz admitida en el interior por estas ventanas, además de restringir la complejidad de los patrones que podrían crearse.

Ventanas de lanceta
La forma más simple de una ventana gótica es una abertura larga con un arco apuntado conocido en Inglaterra como lanceta. Las ventanas ojivales se pueden usar individualmente, como en la nave de la Catedral de Lincoln, o agrupadas, como en la nave de la Catedral de Salisbury, donde están en dos en los pasillos y en tres en el triforio. Debido a que las grandes ventanas ojivales, como las que iluminan los pasillos de una iglesia, pueden ser anchas en comparación con una sola luz en una ventana con tracería, a menudo tienen armaduras de madera o hierro para sostener el vidrio. El arco de una abertura de lanceta es a menudo equilátero, pero a veces es mucho más agudo, y cuando se emplea en la arcada de un ábside de coro, como en la Abadía de Westminster, se suma al énfasis de la altura.

La forma simple del arco ojival puede aparecer en edificios del gótico temprano en aberturas de todo tipo, portales, nichos, arcadas, incluidas galerías; y aberturas de espadaña.

El uso de ventanas ojivales se encuentra en la arquitectura gótica temprana de Francia, en las catedrales de Saint-Denis y Sens y Senlis. En las catedrales de Chartres y Laon, las ventanas ojivales se agrupan debajo de los rosetones. Lancetas altas y estrechas también se encuentran en grupos radiantes en los ábsides del presbiterio de algunas iglesias, como la Catedral de Chartres. Es común en Francia que las ventanas ojivales se usen en espacios más pequeños y estrechos, como las capillas de una cabecera, mientras que las ventanas de tracería se usan en el triforio.

El estilo lanceteado se conoce en Inglaterra como gótico inglés temprano, siendo la Catedral de Salisbury el mejor ejemplo. York Minster tiene un grupo de ventanas ojivales, cada una de cincuenta pies de alto y que aún contienen vidrio antiguo. Son conocidas como las Cinco Hermanas. La catedral de Wells se destaca por las filas continuas de aberturas de lancetas que forman las galerías del triforio. Las ventanas ojivales se utilizan ampliamente en las iglesias góticas de Italia, incluida la Catedral de Florencia y en las iglesias góticas de ladrillo de Alemania y Polonia.

Tracería de barras

A principios del siglo XIII, la tracería de placas fue reemplazada por la tracería de barras, que divide las aberturas grandes entre sí con montantes moldeados. Esta tracería, fue un elemento decorativo importante del góticos  Los primeros diseños de tracería de barras se hicieron para las ventanas de los pasillos de la catedral de Reims sobre 1215. En las ventanas de Reims todavía se usaba el mismo patrón de 'dos lancetas más óculo' (como en el ejemplo anterior de Soissons), pero ahora los paneles de vidrio están sostenidos entre parteluces estrechos de piedra hechos de piezas de mampostería cuidadosamente moldeadas (unidas con mortero y pasadores de metal) muy distintos de la pared que los rodea. Estos parteluces eran mucho más esbeltos que los elementos correspondientes en las ventanas de placa-tracería y, lo que es más importante, las áreas de pared que antes eran sólidas, como las enjutas, ahora también se podían acristalar, lo que aumentaba en gran medida la cantidad de luz admitida.

Se empleó en Inglaterra alrededor de 1240.  Después de 1220, los maestros de obras en Inglaterra comenzaron a tratar las aberturas de las ventanas como una serie de aberturas divididas por delgadas barras de piedra, mientras que antes de 1230 las capillas del ábside de la Catedral de Reims estaban decoradas con tracería de barras con círculos en forma de cúspide (con barras que irradian desde el centro). La tracería de barras se hizo común después de c. 1240, con complejidad creciente y peso decreciente. Las líneas de los parteluces continuaron más allá de la parte superior de las luces de las ventanas y subdividieron las enjutas abiertas sobre las luces en una variedad de formas decorativas.

El estilo radiante (c. 1230-c. 1350) fue posible gracias al desarrollo de la tracería de barras en la Europa continental y recibe su nombre de la radiación de luces alrededor de un punto central en los rosetones circulares.  Este estilo también utilizó molduras de dos tipos diferentes en tracería, donde los estilos anteriores habían utilizado molduras de un solo tamaño, con diferentes tamaños de parteluces. Los rosetones, como el de Notre-Dame de París (c. 1270) son típicos.

La sección transversal de cada montante o barra de tracería era importante tanto para la integridad estructural de la ventana como para el efecto visual. Como se puede ver en el diagrama de Viollet-le-Duc (derecha), normalmente había una moldura en rollo tanto en el interior como en el exterior de las ventanas, lo que hacía que los parteluces parecieran aún más delgados de lo que realmente eran. El hombro marcado con una 'B' en el diagrama es la ranura del acristalamiento, en la que se monta el marco de metal ( armadura ) del vidrio de la ventana. A diferencia de la tracería de placas, donde cada piedra tenía que tener una forma individual, los elementos de la tracería de barras se podían producir en masa según plantillas estándar en el patio del albañil, trabajo que podía continuar incluso cuando hacía demasiado frío para que fraguase el mortero de cal . Los aspectos técnicos de las ventanas de Reims claramente fascinaron a Villard de Honnecourt, quien visitó el sitio de construcción, probablemente en la década de 1220, e hizo un boceto detallado de las diversas plantillas, utilizando una clave para mostrar cómo encajaban en las diferentes partes de la ventana. (las plantillas están en la mitad inferior del anverso del folio 32; los símbolos además de las plantillas coinciden con otros similares en el dibujo detallado de las elevaciones de Reims en la página opuesta, verso del folio 31).

Tracería geométrica (radiante)
La primera fase del estilo de punta media (finales del siglo XIII) se caracteriza por la tracería geométrica: tracería de barra simple que forma patrones de arcos frustrados y círculos intercalados con luces triangulares. Se usaban arcos equiláteros para rellenar la tracería de formas equiláteras, circulares y semicirculares simples. En Francia, las ventanas de los triforios y otras ventanas más grandes se dividían comúnmente en dos luces, con una tracería geométrica simple arriba, un círculo o un cinquefoil o sexfoil. Este estilo de ventana siguió siendo popular sin grandes cambios hasta después de 1300. Los parteluces de estilo geométrico típicamente tenían capiteles con barras curvas que salían de ellos. Tracería de barras que se cruzan (c. 1300) desplegó parteluces sin capitel que se bifurcaban equidistantes del dintel. Los propios cabezales de las ventanas estaban formados por curvas iguales que formaban un arco apuntado y las barras de tracería se curvaban dibujando curvas con diferentes radios desde los mismos centros que los cabezales de las ventanas.  En consecuencia, los parteluces se ramificaron en diseños en forma de Y adornados con cúspides. Las ramas que se cruzaban produjeron una serie de luces en forma de rombo entre numerosas luces arqueadas de lancetas. La tracería en Y se empleaba a menudo en ventanas de dos luces. c. 1300.
En Inglaterra hubo una variación mucho mayor en el diseño de la tracería que evolucionó para llenar estos espacios. El estilo se conoce como gótico decorado geométrico y se puede ver con un efecto espléndido en muchas catedrales inglesas e iglesias importantes, donde tanto el extremo este como el oeste del edificio pueden estar ocupados por una sola ventana grande, como la ventana este en Lincoln y la ventana oeste de la Catedral de Worcester. Las ventanas de diseño complejo y de tres o más aberturas o tramos verticales suelen diseñarse superponiendo dos o más arcos equiláteros que parten de los montantes verticales.

La tracería geométrica se identifica por las aberturas circulares en la cabecera del arco de la ventana. Más tarde se hizo común las tres aberturas debajo de dos círculos y una tercera en la punta del arco;  se puede ver un ejemplo de este tipo a lo largo del pasillo de la Catedral de Lincoln. También en la Catedral de Lincoln, la ventana este es una versión ampliada de esta idea con dos arcos interiores, un total de ocho aberturas inferiores, cuatro circulares pequeñas rematadas con dos círculos más grandes para llenar los arcos interiores, y finalmente sobre todo una gran forma circular llena de siete luces circulares más pequeñas. La tracería geométrica, en sus primeras etapas, tenía una regla de ley equilátera, donde el diseño de la tracería sigue la forma del arco de manera equilátera. Se pueden implementar elementos decorativos adicionales, como la foliación o el " triángulo esférico ". El uso de triángulos esféricos es una adaptación posterior y probablemente refleja un significado religioso.
Esos cabios dieron lugar al gótico radiante, el estilo que produjo los grandes rosetones de Francia. Estas ventanas cubren no solo los frentes occidentales de las iglesias, sino también, a menudo, como en Notre-Dame de París, los frontones del transepto. Es común que aunque los transeptos de las iglesias francesas no sobresalgan fuertemente, se les dé una importancia visual casi igual a la del frente oeste, incluyendo grandes portales decorados y un rosetón. Ejemplos particularmente buenos se encuentran en Notre-Dame y la Catedral de Chartres.

Tracería curvilínea (flamígera)

Entre finales del siglo XIII y principios del siglo XIV, la tracería se vuelve más fluida (ondulante), curvilínea.  se desarrolla la tracería reticulada o de intersección elaborada con arcos conopiales, creando un diseño reticular complejo (en forma de red). Aunque este era demasiado débil para la aplicación estructural y sólo era usado como elemento decorativo. Un buen ejemplo es la ventana oeste de la iglesia parroquial de St Mary en Cottingham, East Riding of Yorkshire .
 Estos tipos de tracería de barras se desarrollaron aún más en toda Europa en el siglo XV en el estilo , llamado así por de la semejanza de algunas formas de tracería con el movimiento ascendente de las llamas. Estas formas se conocen como dagas, vesículas de pescado o mouchettes.
La tracería, en este periodo, se hace progresivamente más compleja mediante el juego de dobles curvas, con curvas y contracurvas denominado ornamentación de vejiga de pez, cuyo simbolismo se remite al libro de Tobías.
El flamígero se dibuja a partir de cuatro puntos, la parte superior de cada arco principal gira hacia arriba en un arco más pequeño y se une en un punto afilado como una llama.  Estos arcos crean un efecto rico y vivo cuando se usan para tracería de ventanas y decoración de superficies. La forma es estructuralmente débil y rara vez se ha utilizado para grandes aberturas, excepto cuando está contenida dentro de un arco más grande y más estable. No se emplea en absoluto para la bóveda .

Algunas de las vidrieras con tracería más bellas y famosas de Europa emplean este tipo de tracería. Se puede ver en St Stephen's Vienna, Sainte-Chapelle en París, en las catedrales de Limoges y Rouen en Francia. En Inglaterra, los ejemplos más famosos son la ventana oeste de la catedral de York con su diseño basado en el Sagrado Corazón, la rica ventana este de nueve luces en la catedral de Carlisle y la ventana este de la abadía de Selby .

Un estilo secundario, considerado relacionado con la tracería curvilínea, se llama tracería reticulada. La tracería reticulada llena la cabeza del arco con formas repetidas que crean la apariencia de un patrón en forma de red.

Los portales rematados por molduras radiantes  son muy comunes en la arquitectura tanto eclesiástica como doméstica en Francia. Son mucho más raros en Inglaterra. Un ejemplo notable es la entrada a la Sala Capitular de la Catedral de Rochester .

El estilo se usó mucho en Inglaterra para arcadas de paredes y nichos. Los principales ejemplos se encuentran en Lady Chapel en Ely, Screen en Lincoln y en el exterior de la fachada de la Catedral de Exeter . En la arquitectura gótica alemana y española, a menudo aparece como pantallas caladas en el exterior de los edificios. El estilo se usó con un efecto rico y, a veces, extraordinario en ambos países, especialmente en el famoso púlpito de la Catedral de Viena .

Perpendicular
Este tercer estilo gótico puntiagudo o perpendicularse desarrolló en Inglaterra a partir de finales del siglo XIV y está tipificado por la tracería rectilínea (tracería de panel). Evolucionó a partir de este tratamiento es específico de Inglaterra, aunque muy similar al estilo español contemporáneo en particular, y se empleó con gran eficacia durante el siglo XV y la primera mitad del XVI, ya que los estilos renacentistas tardaron mucho más en adoptarse.  Los montantes a menudo se unen mediante travesaños y continúan sus líneas verticales rectas hasta la parte superior del arco principal de la ventana, algunos se ramifican en arcos menores y crean una serie de luces en forma de panel.  Perpendicular luchó por la verticalidad y prescindió de las líneas sinuosas del estilo curvilíneo en favor de montantes rectos ininterrumpidos de arriba abajo, atravesados por travesaños y barras horizontales.  Los arcos de cuatro centros se utilizaron en los siglos XV y XVI para crear ventanas de tamaño creciente con cabezas de ventana más planas, a menudo llenando toda la pared de la bahía entre cada contrafuerte.  Las ventanas estaban divididas en paneles de luces rematados por arcos apuntados en cuatro centros.  Los travesaños a menudo estaban rematados por almenas en miniatura.  Las ventanas de King's College Chapel, Cambridge (1446-1515) representan las alturas de la tracería perpendicular.

El arco hundido o de cuatro centros es mucho más ancho que su altura y da el efecto visual de haber sido aplanado bajo presión. Su estructura se logra mediante la elaboración de dos arcos que parten de cada punto de arranque de forma abrupta en un radio pequeño y luego se convierten en dos arcos de radio amplio y punto de arranque mucho más bajo.

Este tipo de arco, cuando se emplea como abertura de ventana, se presta a espacios muy amplios, siempre que esté adecuadamente sostenido por muchos fustes verticales estrechos. Estos a menudo están reforzados por travesaños horizontales. El efecto general produce una apariencia de cuadrícula de formas rectangulares regulares y delicadas con énfasis en la perpendicular. También se emplea como decoración de paredes en las que arcadas y huecos de ventana forman parte de toda la superficie decorativa.

Es destacable el extremo este de la catedral de Gloucester, donde se dice que la ventana este es tan grande como una cancha de tenis. Hay tres capillas reales muy famosas y una abadía similar a una capilla que muestran el estilo en su forma más elaborada: King's College Chapel, Cambridge ; la Capilla de San Jorge, Windsor ; La Capilla de Enrique VII en la Abadía de Westminster y la Abadía de Bath . Sin embargo, muchos edificios más simples, especialmente las iglesias construidas durante el auge de la lana en East Anglia, son buenos ejemplos de este estilo.

Tracería ciega y abierta
A medida que la tracería de barras abrió el camino para patrones más complejos, los albañiles comenzaron a aplicar esos mismos patrones a otras superficies, así como a las aberturas de las ventanas. Cuando se utilizan en paredes sólidas, estos motivos se conocen como tracería ciega, un efecto decorativo que se aplicó por primera vez en la fachada oeste de la iglesia de St Nicaise en Reims (1230). Por el contrario, la tracería también se construyó como pantallas caladas, que podían coincidir con la tracería de la ventana detrás de ellos (por ejemplo, la Basílica de Saint Urbain, Troyes) o crear un contrapunto visual, como en el exterior de la fachada oeste de la Catedral de Estrasburgo. La tracería abierta en particular fue una característica clave de las últimas fases de Rayonnant y Flamboyant Gothic.

Tipos de patrones de tracería

La mayoría de las historias del estilo arquitectónico gótico del siglo XIX utilizaron una serie de categorías tipológicas basadas en la evolución de los patrones dominantes de tracería de ventanas. En términos del desarrollo general de la arquitectura gótica, el desarrollo crucial no fue tanto el uso de patrones de tracería en particular, sino la transición de la tracería de placa a barra, que fue lo que hizo posible el estilo radiante y los estilos posteriores. Para construir tracerías proporcionalmente, es importante usar la base de la geometría para ayudar a crear los ángulos correctos para el diseño.

Cuatrifolios redondeados
En la tracería gótica, los cuatrifolios redondeados se han utilizado en la ornamentación industrial moderna que se utiliza para embellecer diferentes partes de un edificio o ciertos objetos. Esto se forma con el uso de cuadrados como base y luego construyendo círculos tangentes a cada lado del cuadrado en el centro del lado, así como una tangente a cada uno de los lados del círculo. Este tipo de construcción se utiliza con generosidad en los edificios góticos.  Por ejemplo, los tréboles de cuatro hojas redondeados se utilizaron en pavimentos de baldosas como los de la Catedral de Gloucester o en Great Malvern, Worcestershire, Inglaterra. También era común en el trabajo de los chinos y japoneses.

Polilobuladas redondeadas
Las polilobuladas redondeadas se encuentran en diferentes partes de los edificios góticos, como ventanas circulares y ventanas apuntadas que contienen luces circulares. Estos diseños pueden tener anillos que van de siete a once círculos pequeños. Se ven a menudo en Inglaterra, pero se han vuelto muy populares en la arquitectura gótica francesa.  Este diseño se ha utilizado desde la época medieval en los azulejos utilizados en los edificios góticos. El pavimento de baldosas utilizado en Jervaulx Abbey en Yorkshire, Inglaterra, tenía anillos de seis y doce círculos dentro de otro círculo.

Trazado en suelos y épures
A medida que aumentaba la complejidad de la tracería, también aumentaba la necesidad de que los albañiles dibujaran sus diseños por adelantado, ya sea como una forma de experimentar con patrones o como una forma de comunicar sus diseños a otros artesanos o a sus patrocinadores. Debido a las limitaciones de costo y tamaño de las hojas de pergamino, estos diseños normalmente se dibujarían incidiendo en una tabla encalada o en una sección convenientemente colocada de una pared plana. En este último caso, la pared se prepararía con una fina capa de yeso, que mostraría más claramente el diseño.

Varias iglesias y catedrales todavía muestran los débiles restos de estos calcos (o épures, como se les conoce en Francia), desde donde las puntas de los compás del albañil rascaron el yeso y la mampostería de abajo. (Estos ejemplos incluyen algunos patrones de tracería de ventanas experimentales del siglo XIV en el extremo este de la pared sur dentro del pórtico de Galilea de la catedral de Ely, o la extensa serie de trazados en los techos de los pasillos planos de la catedral de Clermont-Ferrand . ) Varios sitios de construcción importantes (incluyendo la Abadía de Westminster, la Catedral de Wells y la Catedral de York ) originalmente tenían cámaras de tracería dedicadas, donde los arquitectos podían preparar sus diseños con relativa comodidad. La disponibilidad de una gran superficie de suelo plano significaba que los diseños podían dibujarse a tamaño real y los elementos individuales de tracería de barras se disponían en el plano para probar su bondad de ajuste, antes de subirlos al andamio para instalarlos en las aberturas de las ventanas reales. Esto también significaba que los albañiles podían seguir trabajando durante la temporada de invierno, cuando el trabajo de construcción normalmente se detenía.

Los suelos de trazado estaban cubiertos con yeso de París, que se alisaba después de terminar cada conjunto de diseños. Mason's Loft es una sala de trazado del siglo XIV en York que sobrevive en el piso superior del corredor que conduce a la Sala Capitular, la compleja red de líneas y curvas grabadas en el suelo muestran los innumerables diseños que se elaboraron en allí. La carpintería de alta calidad y la inclusión de un guardarropa y una chimenea en la casa de trazado de York también indican el estatus ascendente del arquitecto alrededor del siglo XIV.

Galería de imágenes

Véase también

 Rosetón (diseño)
 Vitral

Referencias

Fuentes bibliográficas

 (en portugués) CALADO, Margarida, PAIS DA SILVA, Jorge Henrique, Dicionário de Termos da Arte e Arquitectura, Editorial Presença, Lisboa, 2005, ISBN 20130007
 (en alemán) KOEPF, Hans; BINDING, Günther (Überarbeitung), Bildwörterbuch der Architektur, Alfred Kröner Verlag, Stuttgart, 1999, ISBN 3-520-19403-1
 NORBERG-SCHULZ, Christian, Arquitectura occidental, Editorial Gustavo Gili, Barcelona, 1999, ISBN 84-252-1805-5

Otras lecturas

  Eespecially 120ff.

Arquitectura eclesiástica
Arquitectura gótica
Ventanas
Ornamentos arquitectónicos

redpajama_set_name: RedPajamaWikipedia


Photo: Home on MacArthur Avenue, ca. 1894, Chapple and MacArthur Avenues Residential Historic District, Ashland, WI. The Historic District was listed on the National Register of Historic Places in 2014. Photograph by Traci E. Schnell, 2012, for nomination document, Chapple and MacArthur Avenues Residential Historic District, Ashland County, Wisconsin, NR# 14000266, National Park Service, National Register of Historic Places, accessed September, 2014.
The Ashland County Courthouse is located at 201 West Main Street, Ashland, WI 54806; phone: 715-682-7015.
Ashland is named for the Lexington, Kentucky estate of statesman Henry Clay [1777-1852] by one of the city's founders who was an admirer of Clay.


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