A Collector of Many Sorts: Douglas M. Perham and His Cavalcade
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The Arrival of the First Film Sound Systems in Spain (1895-1929)
Journal of Sound, Silence, Image and Technology 27 Issue 1 | December 2018 | 27-41 ISSN 2604-451X The arrival of the first film sound systems in Spain (1895-1929) Lidia López Gómez Universitat Autònoma de Barcelona [email protected] Date received: 10-01-2018 Date of acceptance: 31-03-2018 PALABRAS CLAVE: CINE MUDO | SONIDO | RecepcIÓN | KINETÓFONO | CHRONOPHONE | PHONOFILM KEY WORDS: SILENT FILM | SOUND | RecepTION | KINETOPHONE | CHRONOPHONE | PHONOFILM Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. 28 The arrival of the first film sound systems in spain (1895-1929) ABSTracT During the final decade of the 19th century, inventors such as Thomas A. Edison and the Lumière brothers worked assiduously to find a way to preserve and reproduce sound and images. The numerous inventions conceived in this period such as the Kinetophone, the Vitascope and the Cinematograph are testament to this and are nowadays consid- ered the forerunners of cinema. Most of these new technologies were presented at public screenings which generated a high level of interest. They attracted people from all social classes, who packed out the halls, theatres and hotels where they were held. This paper presents a review of the newspa- per and magazine articles published in Spain at the turn of the century in order to study the social reception of the first film equip- ment in the country, as well as to understand the role of music in relation to the images at these events and how the first film systems dealt with sound. Journal of Sound, Silence, Image and Technology | Issue 1 | December 2018. -
Below 535 a Historical Review of Continuous Wave Radio Frequency
Below 535 Edited by Frank Lotito, K3DZ 1428 O'Block Rd., Pittsburgh ,PA 15239 Please include SASE for reply A Historical Review of Continuous Wave Radio Frequency Power Generators Overview The many disadvantages of the spark transmitters that were the original means of radio communication eventually led to the development of better methods for generating a radio frequency signal. Herculean-type arc transmitter ably presented in Henry Bradford's recent award winning article on the Marconi transatlantic site in Nova Scotia (1) was one historically significant means of developing large amounts of r.f. power in the long-wave spectrum. This article will briefly review some others. These were the Poulsen Arc transmitter, Alexanderson and Goldschmidt HF generators, and the static frequency changers.1 Hopefully, one or more readers will be enticed to contribute detailed articles on each of these devices. Introduction nbsp; At the start of the twentieth century, wireless communication lost its curiosity status and became a practical means of spanning large distances. "King Spark" ruled the realm. But all too frequently, the spark signals filled the airwaves with a muddle of almost unintelligible overlapping messages! The interference was due to a number of major factors: 1. There was little or no regulation of the airwaves or assignment of priorities. Radio services transmitted whenever they wished and in any part of the radio frequency spectrum they desired. 2. A transmitter "horse power competition" evolved. Those who could afford the more powerful transmitters built them in order to improve their chances of being heard. 3. The very wide bandwidth of the spark transmission2 resulted in lower transmitter efficiency and communications effectiveness, while splattering the r.f. -
Diocese of San Jose 2020 Directory
Diocese of San Jose 2020 Directory 1150 North First Street, Suite 100 San Jose, California 95112 Phone (408) 983-0100 www.dsj.org updated 10/8/2020 1 2 Table of Contents Diocese Page 5 Chancery Office Page 15 Deaneries Page 29 Churches Page 43 Schools Page 163 Clergy & Religious Page 169 Organizations Page 205 Appendix 1 Page A-1 Appendix 2 Page A-15 3 4 Pope Francis Bishop of Rome Jorge Mario Bergoglio was born in Buenos Aires, Argentina's capital city, on December 17, 1936. He studied and received a master's degree in chemistry at the University of Buenos Aires, but later decided to become a Jesuit priest and studied at the Jesuit seminary of Villa Devoto. He studied liberal arts in Santiago, Chile, and in 1960 earned a degree in philosophy from the Catholic University of Buenos Aires. Between 1964 and 1965 he was a teacher of literature and psychology at Inmaculada High School in the province of Santa Fe, and in 1966 he taught the same courses at the prestigious Colegio del Salvador in Buenos Aires. In 1967, he returned to his theological studies and was ordained a priest on December 13, 1969. After his perpetual profession as a Jesuit in 1973, he became master of novices at the Seminary of Villa Barilari in San Miguel. Later that same year, he was elected superior of the Jesuit province of Argentina and Uruguay. In 1980, he returned to San Miguel as a teacher at the Jesuit school, a job rarely taken by a former provincial superior. -
Journal of the California Historical Radio Society ~~ 1~ I I I I I I I
V o I u m e 2 9 n u m b e r SPRI ' G&SUMMER 2 0 0 4 JOURNAL OF THE CALIFORNIA HISTORICAL RADIO SOCIETY ~~ 1~ I I I I I I I FOR THE RESTORATION A D PRESERVATION OF EARLY RADIO C a f 0 n a H s 0 c a R a d 0 s 0 c e y CHRS Officers and Staff About CHRS Board of Directors: The California Historical Radio Society, Mike Adams Chairman of the Board, Web Master (CHRS). is a non-profit educational corporation Steve Kushman President, Membership, HOTLINE chartered in the State of California. CHRS was Richard Look Treasurer, IT Specialist formed in 1974 to promote the restoration and Scott Robinson Vice President, Publicity preservation of early radio and broadcasting. Mike Simpson Mailing Our goal is to provide the opportunity to Stephen Sutley Journal Editor exchange ideas and information on the history Bill Wray Secretary of radio. particularly in the West, with empha sis on collecting, preserving, and displaying Staff: early equipment. literature, and programs. Paul Bourbin Events Chairman Larry Clark Technical Advisor, Librarian © California Historical Radio Society. Bart Lee General Counsel, Awards Chairman All 1ights reserved. No part of this publication Norm Lehfeldt Name Badges may be reproduced in any form, or by any Fred Meehan Journal Editor means, without prior written permission from Don Steger Sacramento Chapter Chairman CHRS. except that you may make " fair use" of Bill Wheeler CHRS CPA quotations of text fully attributed by you to the source (this Jo11ma/) and the author. The KRE Project: Project Manager / Logistics Steve Kushman Operations Manager/Safety Officer Jerry Cantou CHRS Finance & Administration Richard Look P.O. -
Electrical Engineering
SCIENCE MUSEUM SOUTH KENSINGTON HANDBOOK OF THE COLLECTIONS ILLUSTRATING ELECTRICAL ENGINEERING II. RADIO COMMUNICATION By W. T. O'DEA, B.Sc., A.M.I.E.E. Part I.-History and Development Crown Copyright Reseruea LONDON PUBLISHED BY HIS MAJESTY's STATIONERY OFFICI To be purchued directly from H.M. STATIONERY OFFICI at the following addre:11ea Adutral Houae, Kinpway, London, W.C.z; no, George Street, Edinburgh:& York Street, Manchester 1 ; 1, St, Andrew'• Cretccnr, Cudi.lf So, Chichester Street, Belfa1t or through any Booueller 1934 Price 2s. 6d. net CONTENTS PAGB PREFACE 5 ELECTROMAGNETI<: WAVF13 7 DETECTORS - I I EARLY WIRELESS TELEGRAPHY EXPERIMENTS 17 THE DEVELOPMENT OF WIRELESS TELEGRAPHY - 23 THE THERMIONIC vALVE 38 FuRTHER DEVELOPMENTS IN TRANSMISSION 5 I WIRELESS TELEPHONY REcEIVERS 66 TELEVISION (and Picture Telegraphy) 77 MISCELLANEOUS DEVELOPMENTS (Microphones, Loudspeakers, Measure- ment of Wavelength) 83 REFERENCES - 92 INDEX - 93 LIST OF ILLUSTRATIONS FACING PAGE Fig. I. Brookman's Park twin broadcast transmitters -Frontispiece Fig. 2. Hughes' clockwork transmitter and detector, 1878 8 Fig. 3· Original Hertz Apparatus - Fig. 4· Original Hertz Apparatus - Fig. S· Original Hertz Apparatus - 9 Fig. 6. Oscillators and resonators, 1894- 12 Fig. 7· Lodge coherers, 1889-94 - Fig. 8. Magnetic detectors, 1897, 1902 - Fig. 9· Pedersen tikker, 1901 I3 Fig. IO. Original Fleming diode valves, 1904 - Fig. II. Audion, Lieben-Reisz relay, Pliotron - Fig. IZ. Marconi transmitter and receiver, 1896 Fig. IJ. Lodge-Muirhead and Marconi receivers 17 Fig. 14. Marconi's first tuned transmitter, 1899 Fig. IS. 11 Tune A" coil set, 1900 - 20 Fig. 16. Marconi at Signal Hill, Newfoundland, 1901 Fig. -
History of Communications Media
History of Communications Media Class 5 History of Communications Media • What We Will Cover Today – Photography • Last Week we just started this topic – Typewriter – Motion Pictures • The Emergence of Hollywood • Some Effects of the Feature Film Photography - Origins • Joseph Nicephore Niepce –first photograph (1825) – Used bitumen and required an 8-hour exposure – Invented photoengraving • Today’s photolithography is both a descendent of Niepce’s technique and the means by which printed circuits and computer chips are made – Partner of Louis Daguerre Photography - Origins • Louis Daguerre – invented daguerreotype – Daguerre was a panorama painter and theatrical designer – Announced the daguerreotype system in 1839 • Daguerreotype – a photograph in which the image is exposed onto a silver mirror coated with silver halide particles – The first commercially practical photographic process • Exposures of 15 minutes initially but later shortened – The polaroid of its day – capable of only a single image Photography – Origins • William Henry Fox Talbot – invented the calotype or talbotype – Calotype was a photographic system that: • Used salted paper coated with silver iodide or silver chloride that was developed with gallic acid and fixed with potassium bromide • Produced both a photographic negative and any desired number of positive prints Photography – Origins • Wet Collodion Process - 1 – Invented in 1850 by Frederick Scott Archer and Gustave Le Grey – Wet plate process that required the photographer to coat the glass plate, expose it, -
National Register of Historic Places I ] §Gp Registration Form I
(Oct. 1990) United States Department of the Interior National Park Service National Register of Historic Places I ] §gp Registration Form i • _ _„_....—•- This form is for use in nominating or requesting determinations for individual properties and districts. ?See instructions in Hovy to Complete the National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete eaihJtem by marking"x" in the appropriate box or by entering the information requested. If an item does not apply to the property being documented, enter "N/A" for "not applicaole." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NFS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property________________________________________RELt^Fn/r''!^ historic name Alviso, Jose Maria, Adob°—————————————— other names/site number CA-SC1 -15? ___________________ 2. Location street & number Q? P-jprfmnnt- Pnari ___________________________ G not for publication city or town Mi Ip-it-ac;_____________________________________ D vicinity state ______rj=n -ifn-rnia code CA county fianivi ria-ra_____ code ngc; zip code 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, 1 hereby certify that this^Q nomination Q request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property S3 meetdlO does not meet the National Register criteria 1 recommend that this property be considered significant d nationally £H stat§wid^ Q/tocally. -
MA ENGLISH II YEAR - MASS COMMUNICATION and JOURNALISM Unit I : Introduction to Communications 1
MA ENGLISH II YEAR - MASS COMMUNICATION AND JOURNALISM Unit I : Introduction to Communications 1. Definition – Meaning – Process of communications. 2. Functions and Theories of Mass Media 3. Role and effects of Mass Media in Social campaigns (Literacy, anti-poverty, family planning, National integration, secularism and environment issues) 4. Emerging trends and development in information and communication Technologies. Unit II : Introduction to Journalism 1. Role of Press in India – English and Vernacular Press. 2. Ethics and Principles of Journalism 3. Freedom of the Press 4. Press Council and Press Regulations in India Unit III : Print Media 1. The Making of a Newspaper 2. Principles of Reporting – Feature writing, Interviews, Reviews and cartoons. 3. the Role of Editors 4. Press and Public Opinion. Unit IV : Television and Radio 1. The growth and development of Television in India 2. Television Production and Formats of TV Programmes. 3. Radio genres, Ownership, Control and Broadcasting Policy 4. Impact of TV and Radio on society. Unit V : Advertisement 1. Types of Advertising and Advertising Media 2. Techniques in effective advertisements. 3. Code of Ethics for advertising 4. Advertising and Marketing. Unit I : Introduction to Communication 1.1 Introduction Translation is as old as human civilization. Since the dawn of civilization, we, human beings, have been using language to translate our thoughts and ideas. We use a set of symbols or codes to communicate or transfer an idea or thought or a feeling to the person whom we address during an act of communication. Here too we have translation. In this sense, we translate every day. With the evolution of human society, we became more anxious to know about the thoughts and feelings of people in distant places. -
Audio Production Techniques (206) Unit 1
Audio Production Techniques (206) Unit 1 Characteristics of Audio Medium Digital audio is technology that can be used to record, store, generate, manipulate, and reproduce sound using audio signals that have been encoded in digital form. Following significant advances in digital audio technology during the 1970s, it gradually replaced analog audio technology in many areas of sound production, sound recording (tape systems were replaced with digital recording systems), sound engineering and telecommunications in the 1990s and 2000s. A microphone converts sound (a singer's voice or the sound of an instrument playing) to an analog electrical signal, then an analog-to-digital converter (ADC)—typically using pulse-code modulation—converts the analog signal into a digital signal. This digital signal can then be recorded, edited and modified using digital audio tools. When the sound engineer wishes to listen to the recording on headphones or loudspeakers (or when a consumer wishes to listen to a digital sound file of a song), a digital-to-analog converter performs the reverse process, converting a digital signal back into an analog signal, which analog circuits amplify and send to aloudspeaker. Digital audio systems may include compression, storage, processing and transmission components. Conversion to a digital format allows convenient manipulation, storage, transmission and retrieval of an audio signal. Unlike analog audio, in which making copies of a recording leads to degradation of the signal quality, when using digital audio, an infinite number of copies can be made without any degradation of signal quality. Development and expansion of radio network in India FM broadcasting began on 23 July 1977 in Chennai, then Madras, and was expanded during the 1990s, nearly 50 years after it mushroomed in the US.[1] In the mid-nineties, when India first experimented with private FM broadcasts, the small tourist destination ofGoa was the fifth place in this country of one billion where private players got FM slots. -
Introduction to Modulation
Modular Electronics Learning (ModEL) project * SPICE ckt v1 1 0 dc 12 v2 2 1 dc 15 r1 2 3 4700 r2 3 0 7100 .dc v1 12 12 1 .print dc v(2,3) .print dc i(v2) .end V = I R Introduction to Modulation c 2019-2021 by Tony R. Kuphaldt – under the terms and conditions of the Creative Commons Attribution 4.0 International Public License Last update = 10 May 2021 This is a copyrighted work, but licensed under the Creative Commons Attribution 4.0 International Public License. A copy of this license is found in the last Appendix of this document. Alternatively, you may visit http://creativecommons.org/licenses/by/4.0/ or send a letter to Creative Commons: 171 Second Street, Suite 300, San Francisco, California, 94105, USA. The terms and conditions of this license allow for free copying, distribution, and/or modification of all licensed works by the general public. ii Contents 1 Introduction 3 2 Case Tutorial 5 2.1 Example: simple diode mixer circuit ........................... 6 2.2 Example: simple diode demodulator circuit ....................... 9 2.3 Example: AD633 as a balanced mixer .......................... 11 3 Tutorial 15 3.1 Amplitude modulation ................................... 16 3.2 Frequency modulation ................................... 19 3.3 Phase modulation ..................................... 21 3.4 Pulse modulation ...................................... 22 3.5 Frequency-shifting ..................................... 23 3.6 I-Q modulators ....................................... 28 4 Historical References 33 4.1 Arc converter transmitters ................................. 34 4.2 Heterodyne radio reception ................................ 37 4.3 Trunked telephony system ................................. 45 5 Derivations and Technical References 47 5.1 Mathematics of signal mixing ............................... 48 5.2 Square-law mixing .................................... -
Students by Zip Code of Residence As of Jan 20, 2006 (Job Corps Excluded)
De Anza College Winter 2006 Students By Zip Code of Residence As of Jan 20, 2006 (Job Corps Excluded) ZIP City Neighborhood HC % 95014 Cupertino 2,269 11.6% 94087 Sunnyvale Sunnyvale Bordering Cupertino 1,339 6.8% 95129 San Jose West West San Jose 990 5.0% 95051 Santa Clara 863 4.4% 94086 Sunnyvale Sunnyvale Middle 788 4.0% 95123 San Jose East of 880 Blossom Hill 659 3.4% 95035 Milpitas 557 2.8% unknown unknown unknown 498 2.5% 95008 Campbell 474 2.4% 95136 San Jose East of 880 Capitol Expwy 447 2.3% 95132 San Jose East of 880 Berryessa 436 2.2% 95117 San Jose West Winchester 414 2.1% 95111 San Jose East of 880 San Jose East of 880 408 2.1% 95124 San Jose East of 880 North of Los Gatos 406 2.1% 95050 Santa Clara 397 2.0% 95148 San Jose East of 880 Quimby 386 2.0% 95112 San Jose East of 880 San Jose East of 880 346 1.8% 95118 San Jose East of 880 San Jose East of 880 329 1.7% 95070 Saratoga West Valley College Area 327 1.7% 95127 San Jose East of 880 Alum Rock 327 1.7% 95120 San Jose East of 880 Almaden 326 1.7% 95122 San Jose East of 880 Tully 308 1.6% 95128 San Jose West Fruitdale/Valley Fair 305 1.6% 95121 San Jose East of 880 Yerba Buena 296 1.5% 95125 San Jose East of 880 Willow Glen 293 1.5% 95131 San Jose East of 880 Oakland 286 1.5% 95133 San Jose East of 880 McKee 277 1.4% 94085 Sunnyvale 271 1.4% 94040 Mountain View 262 1.3% 94089 Sunnyvale Sunnyvale North 255 1.3% 94043 Mountain View 236 1.2% 95116 San Jose East of 880 San Jose East of 880 235 1.2% 95126 San Jose East of 880 W San Carlos 223 1.1% 95130 San Jose West West San -
Introduction to Radio,-, Production and Programming
Introduction to Radio , Production and Programming 010 /PS e Ye • ge. 10111e mieb 4Vie °le MICHAEL H. ADAMS A KIMBERLY K. MASSEY • Regarding Introduction to Radio - Production and Programming... "Its basic how-to approach is very appealing. Beginning radio production students could actually take the textbook into the production studio and teach themselves....The book is comprehensive, progresses logically, and covers virtually all subject matter required by the beginning student." —Jim Cathey, Arkansas State University Introduction to Radio —Production and Programming can serve as the only text needed to lead students toward acomplete understanding of radio production and programming. With its step-by-step approach, this text walks students through production techniques and programming applications and provides insight into daily tasks at aradio station. Introduction to Radio —Production and Programming features: •Current information on present and future computer use in radio production •Graphic illustrations of the latest technology and astep-by-step editing demonstration •A full chapter on formats to help students see how all elements of radio programming work together to create the final product •A realistic view of post-deregulation 90s radio stations and radio broadcasting careers A ISBN 0-697-15354-1 90000 McGraw-Hill ADivision of The McGrawIliil Companies Recycled 110 9 780697 153548 V Introduction to Radio Production and Programming • ;.4k1V4'‘7.11fIV .. /0.7; • •.•' •••<, • . ••C: , y ht• 4e Y • •• x. Introduction to Radio,-, Production and Programming A MICHAEL H. ADAMS San Jose State University KIMBERLY K. MASSEY, Ph.D. San Jose State University. The McGraw-Hill Companies, Inc. Primis Custom Publishing New York St.