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Me and Orson Welles Press Kit Draft
presents ME AND ORSON WELLES Directed by Richard Linklater Based on the novel by Robert Kaplow Starring: Claire Danes, Zac Efron and Christian McKay www.meandorsonwelles.com.au National release date: July 29, 2010 Running time: 114 minutes Rating: PG PUBLICITY: Philippa Harris NIX Co t: 02 9211 6650 m: 0409 901 809 e: [email protected] (See last page for state publicity and materials contacts) Synopsis Based in real theatrical history, ME AND ORSON WELLES is a romantic coming‐of‐age story about teenage student Richard Samuels (ZAC EFRON) who lucks into a role in “Julius Caesar” as it’s being re‐imagined by a brilliant, impetuous young director named Orson Welles (impressive newcomer CHRISTIAN MCKAY) at his newly founded Mercury Theatre in New York City, 1937. The rollercoaster week leading up to opening night has Richard make his Broadway debut, find romance with an ambitious older woman (CLAIRE DANES) and eXperience the dark side of genius after daring to cross the brilliant and charismatic‐but‐ sometimes‐cruel Welles, all‐the‐while miXing with everyone from starlets to stagehands in behind‐the‐scenes adventures bound to change his life. All’s fair in love and theatre. Directed by Richard Linklater, the Oscar Nominated director of BEFORE SUNRISE and THE SCHOOL OF ROCK. PRODUCTION I NFORMATION Zac Efron, Ben Chaplin, Claire Danes, Zoe Kazan, Eddie Marsan, Christian McKay, Kelly Reilly and James Tupper lead a talented ensemble cast of stage and screen actors in the coming‐of‐age romantic drama ME AND ORSON WELLES. Oscar®‐nominated director Richard Linklater (“School of Rock”, “Before Sunset”) is at the helm of the CinemaNX and Detour Filmproduction, filmed in the Isle of Man, at Pinewood Studios, on various London locations and in New York City. -
John's List of Tech Theater Terms
Department of THEATER & DANCE Office of the TECHNICAL DIRECTOR Tech Theater Terms file last updated: 7.29.2010 (JDE) All information contained in this document is original material copyright © 2005 by John D. Ervin and is intended for the use of my students. Please contact me at [email protected] for permission to use this material in any other way. This is a work-in-progress and will be occasionally appended. Apron – The portion of the stage or playing space that is downstage of the proscenium arch. In traditional proscenium-style theaters, acting on the apron was a big “no-no” because it violated the stage picture being created by the proscenium arch. Thus many older theaters have very shallow aprons. Nowadays though, Directors can’t get enough of having their actors as close to the audience as possible; despite how uncomfortable it makes some audience members. This is all done under the umbrella of ‘intimacy’ and we all know how much artists love that stuff. Sometimes the apron is referred to as the “Forestage”. (See Figure 1 and 2) Arbor – Part of a fly system. A device mounted in one of the wings, which is connected to the lift lines at the opposite end from the batten. Stage weights are stacked on the arbor to balance the load suspended from the batten. In the case of a counterweight fly system, a rope hand line is connected to the top of the arbor, passes sequentially through the head block and tension block, and is terminated to the bottom of the arbor, forming a loop. -
Intro to Light Fixtures
Intro to Light Fixtures IN THE BEGINNING PRIMITIVE LAMPS - (c 13,000 BC to 3,000 BC) Prehistoric man, used primitive lamps to illuminate his cave. These lamps, made from naturally occurring materials, such as rocks, shells, horns and stones, were filled with grease and had a fiber wick. Lamps typically used animal or vegetable fats as fuel. In the ancient civilizations of Babylonian and Egypt, light was a luxury. The Arabian Nights were far from the brilliance of today. The palaces of the wealthy were lighted only by flickering flames of simple oil lamps. These were usually in the form of small open bowls with a lip or spout to hold the wick. Animal fats, fish oils or vegetable oils (palm and olive) furnished the fuels. Early Developments Early Developments Rush lights: Candles: Tall, grass-like plant dipped in fat Most expensive candles made of beeswax Most common in churches and homes of nobility Snuffers cut the wick while maintaining the flame Early Developments Early Developments New Developments There was a need to improve the light several ways: 1. The need for a constant flame, which could me left unattended for a longer period of time 2. Decrease heat and smoke for interior use 3. To increase the light output 4. An easier way to replenish the source….thus, the development of gas and electricity 5. Produce light with little waste or conserve energy Page 1 Intro to Light Fixtures Industrial Revolution - Europe Gas lamps developed: London well known for gas lamps Argand Lamp Eiffel Tower (1889) originally used gas lamps The Argand burner, which was introduced in 1784 by the Swiss inventor Argand, was a major improvement in brightness compared to traditional open-flame oil lamps. -
Chemiluminescence Western Blotting Technical Guide and Protocols
TECH TIP Chemiluminescent substrates Chemiluminescence western blotting technical guide and protocols Introduction Types and considerations of chemiluminescence Western blotting is a powerful and commonly used tool western blotting to identify and quantify a specific protein in a complex HRP is the most popular enzyme used in western mixture. As originally conceived by Towbin et al., the blotting and will be discussed throughout this document technique enables indirect detection of protein samples as our example. The most suitable western blotting immobilized on a nitrocellulose or polyvinylidene fluoride substrates for HRP are luminol-based, and they produce (PVDF) membrane. In a conventional western blot, a chemiluminescent signal. Chemiluminescence is a protein samples are first resolved by sodium dodecyl chemical reaction that produces energy released in the sulfate–polyacrylamide gel electrophoresis (SDS-PAGE) form of light. In the presence of HRP and a peroxide buffer, and then electrophoretically transferred to the membrane. luminol oxidizes and forms an excited-state product that Following a blocking step, the membrane is probed emits light as it decays to the ground state. Light emission with a primary antibody (polyclonal or monoclonal) occurs only during the enzyme–substrate reaction and, that was raised against the antigen in question. After a therefore, once the substrate in proximity to the enzyme is subsequent washing step, the membrane is incubated with exhausted, signal output ceases. In contrast, colorimetric a secondary antibody conjugated to an enzyme that is substrates, such as diaminobenzidine (DAB), produce reactive toward the primary antibody. An enzyme such as precipitate that remains visible on the membrane even alkaline phosphatase (AP) or horseradish peroxidase (HRP) after the reaction has terminated. -
Confidential Ssociates a History of Energy Part I
Winter 2014 Luthin Confidential ssociates A History of Energy Part I History of Lighting - Part 1 It wasn’t until the late In the early 1800s, gas M el Brooks’ 2000- 1700’s that European light (initially at less than Inside this issue: year old man used oil lamps (at ~0.3 lu- 1 lumen/watt), used coal torches in his cave, but mens/watt) became gas or natural gas from History of Lighting Part 1 1 today’s lighting is a tad widely available and mines or wells, and was more sophisticated, accepted due to im- relatively common in ur- How to Become A Producer 2 having gone through provements in design ban England. Its use ex- half a dozen stages, and the whaling indus- panded rapidly after the Can Spaceballs Be Shot Out 3 each producing more try’s ability to produce development of the incan- of Earth Tubes? light out of less energy sperm oil. That refined descent gas mantle around i.e., efficacy, than its product burned cleanly, 1890. That device more High (Voltage) Anxiety 3 predecessor. didn’t smell too bad, than doubled the efficacy and was relatively (to 2 lumens/watt) of gas On A Personal Note 4 Torches made of moss cheap compared to lighting, using a filament and animal fat, and commercially-made containing thorium and and the power industry adopted crude oil lamps were candles. cerium, which converted it as a standard. During this the mainstay for indoor more of the gas flame’s period, Nikola Tesla, and oth- lighting until the pro- The Industrial Revolu- heat into white light. -
Whole Document
Copyright By Christin Essin Yannacci 2006 The Dissertation Committee for Christin Essin Yannacci certifies that this is the approved version of the following dissertation: Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 Committee: _______________________________ Charlotte Canning, Supervisor _______________________________ Jill Dolan _______________________________ Stacy Wolf _______________________________ Linda Henderson _______________________________ Arnold Aronson Landscapes of American Modernity: A Cultural History of Theatrical Design, 1912-1951 by Christin Essin Yannacci, B.A.; M.A. Dissertation Presented to the faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December, 2006 Acknowledgements There are many individuals to whom I am grateful for navigating me through the processes of this dissertation, from the start of my graduate course work to the various stages of research, writing, and editing. First, I would like to acknowledge the support of my committee members. I appreciate Dr. Arnold Aronson’s advice on conference papers exploring my early research; his theoretically engaged scholarship on scenography also provided inspiration for this project. Dr. Linda Henderson took an early interest in my research, helping me uncover the interdisciplinary connections between theatre and art history. Dr. Jill Dolan and Dr. Stacy Wolf provided exceptional mentorship throughout my course work, stimulating my interest in the theoretical and historical complexities of performance scholarship; I have also appreciated their insights and generous feedback on beginning research drafts. Finally, I have been most fortunate to work with my supervisor Dr. Charlotte Canning. From seminar papers to the final drafts of this project, her patience, humor, honesty, and overall excellence as an editor has pushed me to explore the cultural implications of my research and produce better scholarship. -
These Definitions Are Provided Courtesy of Altman Stage Lighting, Inc
LIGHTING TERMS GLOSSARY A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A Accent Light Illumination used to make something stand out. It may be done with intensity and/or color. A luminaire that provides such illumination. Amp an abridged version of Ampere. Amperage (A) The measure of electrical current in amperes. Ampere(A) A unit of measurement for Electrical Current. AMX Abbreviation for Analog Multiplex. Analog Multiplex (AMX) A system that simultaneously transmits more than one analog signal. Analog Signal A continuous communication signal where the amplitude or frequency of the voltage and/or current takes any value within a range of values. ANSI Abbreviation for American National Standards Institute. ANSI Code A three letter system that has been devised to describe lamps of different manufacture but the same application. The letters have no relationship to lamp description, but the same letters always designate the same type of lamp. Some of the application parameters they define are wattage, base type, envelope size, and light center length. Arc The light caused by an electrical discharge between two electrodes in a gas such as xenon, argon, or air. The first usable arc as a practical light source was developed in 1809 by Sir Humphrey Davy. Automated Light A luminaire that is robotic, i.e., certain functions such as panning, tilting, focusing, dimming, beam shaping and coloring, etc., are motorized and remotely operated from a control console. Axial A term used to describe a luminaire whose lamp is mounted on the same axis as its optical system. -
Debugging Color Organs
HauntMaven.com - Wolfstone's Haunted Halloween Site http://wolfstone.halloweenhost.com/ColorOrgans/clofix_DebuggingColorOrgans.html#OptocouplerBasedColorOrgans Debugging Color Organs Elsewhere on our web site, we discuss the theory and application of color organs. We also discuss the availability of commercial color organs and kits. This page is dedicated to what can go wrong with a color organ. CAUTION Little battery‐operated color organs that flash LEDs in time to the sound picked up from a microphone are relatively safe to work on. The worst you can do is destroy your project, of burn yourself on your soldering iron. But any color organ that plugs into the wall deals with hazardous voltages. If you aren't prepared to know and follow high-voltage precautions, you shouldn't be poking around in a line-operated appliance! Obtained from Omarshauntedtrail.com Preliminary Examination Before you start screwing around with the gadget, take a moment to look it over closely. • Is it physically damaged? Cracked case or busted parts? Waterlogged? • Is it plugged in and turned on? • Does the pilot light come on? • Is the fuse OK? • Are the lamps plugged in to it? • Have you tested the lamps to make sure they work? For testing color organs, I have found it handy to get a set of small, identical incandescent lamps. Small night-lights from your local discount store would be fine. Plug them all in, power up the color organ, and see if some of the channels work and others do not. You Need A Schematic For any repair that is not utterly trivial, you will need a schematic diagram. -
Reptile Lighting Information by DR
Reptile Magazine 2009 Reptile Lighting Information BY DR. FRANCES M. BAINES, MA, VETMB, MRCVS To reptiles, sunlight is life. Reptiles are quite literally solar powered; every aspect of their lives is governed by their daily experience of solar light and heat, or the artificial equivalent when they are housed indoors. Careful provision of lighting is essential for a healthy reptile in captivity. Infrared and Visible Light Effects on Reptiles The spectrum of sunlight includes infrared, “visible light” (the colors we see in the rainbow) and ultraviolet light, which is subdivided into UVA, UVB and UVC. Very short wavelength light from the sun (UVC and short wavelength UVB) is hazardous to animal skin and eyes, and the atmosphere blocks it. Natural sunlight extends from about 290 to 295 nanometers, which is in the UVB range, to more than 5,000 nanometers, which is in the long-wavelength infrared (heat) range. Infrared light is the sun’s warmth, and basking reptiles absorb infrared radiation extremely effectively through their skin. This part of the light spectrum is invisible to humans and most reptiles, but some snakes can perceive the longer wavelengths (above 5,000 nanometers) through their facial pit organs. Ceramic heaters and heat mats emit only infrared. Incandescent lamps emit infrared and visible light. Some incandescent red basking lamps are described as “infrared” lamps, but these also emit red visible light. Visible light, including UVA, is essential. Many reptiles have extremely good color vision. Humans have three types of retinal cone cells for color vision, and their brains combine the information from these cells and perceive the blend as a certain color. -
Regulation No 48 of the Economic Commission for Europe
L 14/42 EN Official Journal of the European Union 16.1.2019 ACTS ADOPTED BY BODIES CREATED BY INTERNATIONAL AGREEMENTS Only the original UN/ECE texts have legal effect under international public law. The status and date of entry into force of this Regulation should be checked in the latest version of the UN/ECE status document TRANS/WP.29/343, available at: http://www.unece.org/trans/main/wp29/wp29wgs/wp29gen/wp29fdocstts.html Regulation No 48 of the Economic Commission for Europe of the United Nations (UNECE) — Uniform provisions concerning the approval of vehicles with regard to the installation of lighting and light-signalling devices [2019/57] Incorporating all valid text up to: Supplement 10 to the 06 series of amendments — Date of entry into force: 19 July 2018 CONTENTS REGULATION 1. Scope 2. Definitions 3. Application for approval 4. Approval 5. General specifications 6. Individual specifications 7. Modifications and extensions of approval of the vehicle type or of the installation of its lighting and light signalling devices 8. Conformity of production 9. Penalties for non-conformity of production 10. Production definitively discontinued 11. Names and addresses of Technical Services responsible for conducting approval tests and of Type Approval Authorities 12. Transitional provisions ANNEXES 1. Communication 2. Arrangements of approval marks 3. Examples of lamp surfaces, axes, centres of reference, and angles of geometric visibility 4. Visibility of a red lamp to the front and visibility of a white lamp to the rear 5. States of loading to be taken into consideration in determining variations in the vertical orientation of the dipped beam headlamps 6. -
The Risks and Benefits of Cutaneous Sunlight Exposure Sarah Jane Felton
The Risks and Benefits of Cutaneous Sunlight Exposure A thesis submitted to The University of Manchester for the degree of Doctor of Medicine in the Faculty of Biology, Medicine and Health 2016 Sarah Jane Felton School of Biological Sciences Division of Musculoskeletal & Dermatological Sciences 2 CONTENTS List of contents......................................................................................................................................... 3 List of figures ............................................................................................................................................ 8 List of tables ............................................................................................................................................10 List of abbreviations ............................................................................................................................11 Abstract ....................................................................................................................................................15 Declaration ..............................................................................................................................................16 Copyright statement ...........................................................................................................................17 Acknowledgements .............................................................................................................................18 CHAPTER 1: INTRODUCTION -
ART and ITS RELATION to MUSIC in MUSIC EDUCATION Ted
Art and its relation to music in music education Item Type text; Thesis-Reproduction (electronic) Authors De Grazia, 1909- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 13:16:54 Link to Item http://hdl.handle.net/10150/553685 ART AND ITS RELATION TO MUSIC IN MUSIC EDUCATION Ted Etterlno De Qrazia A Thesis submitted to the faculty of the Department of Music Education in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate College University of Arizona 19U5 Date tE 'V T '? /' & TABLE OF CONTENTS Chapter page I. Looking Backward — An H istorical Review of the Field 1 of Color and Color Music Theoiy of Color Science as expounded by A ristotle, Leonardo Da Vinci, Newton, Darwin, Goethe, Helmholtz, Bering, Ostwald, and Scriabin Description of Color Music Instruments of Castel (Clavessin Oculaire), Rimington (Color Organ), Wilfred (Clavilux), and Klein (Color Projector) I I . Analysis and Reconstruction of the Moods and Forms of 19 Music, with an explanation of how these components may be interpreted in educational processes through compa rable abstract patterns in painting I I I . Original Psychological and Experimental Survey Admin 37 istered by Testing Music Art Test, based on abstract patterns Color Music Pattern Test IV. Looking ForwardA Survey of Some of the Educational 51 and Cultural Possibilities of Color Music List of Musical Compositions Interpreted by the Author 56 Bibliography / 57 1 6 7 7 7 1 01 JVM 0T WOITADIH 2TI VHA TKA m itq m z pi3UM m AJbesfD >i.i bsT aladdl A driV lo edV oV tisc d lc im nold'SD.VhJl o±5L‘ : lo ^ns i^xsqs lo d’nOftr/ LtlXyl JLe 'chrsq a> lo 99136b sdV 10I adioardiLupyr 9 ffv sdiA lo 19^26 .