Tapestry

Tapestry is designed from the ground up to give you great productivity.

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We think you will love Tapestry! Give us 20 minutes and follow our quickstart guide. Live class reloading means that the time between seeing an error and providing the fix is seconds, not minutes. Gives you all the tools you need to fix your problem: Pure Java; no reflection, not even for property expressions.

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Built to cleanly support large numbers of concurrent threads without contention. Integrated GZip content compression, JavaScript aggregation and compression, and client-side caching. Scales up big on a single server, and works great in a cluster. Keeps session state minimal by design. Committed to testability throughout design; built-in utilities to enhance TDD.

Support for Selenium for integration testing. This two-day conference includes keynotes, short stories, discussion, and a demo theater designed to provoke ideas and discussion across disciplines. Mona Chalabi Mona Chalabi is a journalist who really loves numbers. She is the Data Editor of The Guardian where she writes articles, produces documentaries, and illustrates, as well as animates, data.

She is also a data journalist for NPR. His research revolves around making statistics more useful to non-experts and how to communicate uncertainty more effectively. He straddles the line between statistics and visualization, looking for new ways to inform visualization and develop better visual tools — whether to help you catch your bus or giving you a better understanding of the risk of being hit by the next hurricane.

He is also author of the book D3. Elijah is an active voice on the topic on Twitter, and runs and publishes a highly-discussed survey of data visualization professionals. Program Thursday, November 29 Mona Chalabi is a journalist who really loves numbers. In 5 months, his team conducted the sociological research and hand-made more than 60 large data visualizations for a massive European audience which ultimately awarded Du Bois a gold medal for his efforts.

The ramification of this work remains challenging to this day.

Miami, FL | November 29-30

Curious about how an artist changes over time, I took my coding and data visualization tools to explore color changes. First, with my own year-long drawing adventure. In tapestry weaving, weft yarns are typically discontinuous; the artisan interlaces each coloured weft back and forth in its own small pattern area. It is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design.

Most weavers use a natural warp thread, such as wool, linen or cotton. The weft threads are usually wool or cotton, but may include silk, gold, silver, or other alternatives. The success of decorative tapestry can be partially explained by its portability Le Corbusier once called tapestries "nomadic murals".

In churches, they were displayed on special occasions. Tapestries were also draped on the walls of castles for insulation during winter, as well as for decorative display. In the Middle Ages and renaissance , a rich tapestry panel woven with symbolic emblems , mottoes , or coats of arms called a baldachin , canopy of state or cloth of state was hung behind and over a throne as a symbol of authority. The iconography of most Western tapestries goes back to written sources, the Bible and Ovid 's Metamorphoses being two popular choices.

Wall Tapestries

Apart from the religious and mythological images, hunting scenes are the subject of many tapestries produced for indoor decoration. Tapestries have been used since at least Hellenistic times. Samples of Greek tapestry have been found preserved in the desert of Tarim Basin dating from the 3rd century BC. The form reached a new stage in Europe in the early 14th century AD. The first wave of production occurred in Germany and Switzerland. Over time, the craft expanded to France and the Netherlands.

The basic tools have remained much the same.

In the 14th and 15th centuries, Arras , France was a thriving textile town. The industry specialised in fine wool tapestries which were sold to decorate palaces and castles all over Europe. Few of these tapestries survived the French Revolution as hundreds were burnt to recover the gold thread that was often woven into them. Arras is still used to refer to a rich tapestry no matter where it was woven. Indeed, as literary scholar Rebecca Olson argues, arras were the most valuable objects in England during the early modern period and inspired writers such as William Shakespeare and Edmund Spenser to weave these tapestries into their most important works such as Hamlet and The Faerie Queen.

By the 16th century, Flanders , the towns of Oudenaarde, Brussels , Geraardsbergen and Enghien had become the centres of European tapestry production.

In the 17th century, Flemish tapestries were arguably the most important productions, with many specimens of this era still extant, demonstrating the intricate detail of pattern and colour embodied in painterly compositions, often of monumental scale. In the 19th century, William Morris resurrected the art of tapestry-making in the medieval style at Merton Abbey.

Kilims and Navajo rugs are also types of tapestry work. Traditional tapestries are still made at the factory of Gobelins and a few other old European workshops, which also repair and restore old tapestries.

While tapestries have been created for many centuries and in every continent in the world, what distinguishes the contemporary field from its pre-World War ll history is the predominance of the artist as weaver in the contemporary medium. The Polish work submitted to the first Biennale, which opened in , was quite novel.

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Traditional workshops in Poland had collapsed as a result of the war. Also art supplies in general were hard to acquire. Many Polish artists had learned to weave as part of their art school training and began creating highly individualistic work by using atypical materials like jute and sisal.