Historical Perspective on the Physics of Artificial
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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. -
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. -
!History of Lightingv2.Qxd
CONTENTS Introduction 3 The role of lighting in modern society 3 1. The oldest light sources 4 Before the advent of the lamp 4 The oldest lamps 4 Candles and torches 5 Further development of the oil lamp 6 2. Gaslight 9 Introduction 9 Early history 9 Gas production 10 Gaslight burners 10 The gas mantle 11 3. Electric lighting before the incandescent lamp 14 Introduction 14 Principle of the arc lamp 15 Further development of the arc lamp 16 Applications of the arc lamp 17 4. The incandescent lamp 20 The forerunners 20 The birth of the carbon-filament lamp 22 Further development of the carbon-filament lamp 25 Early metal-filament lamps 27 The Nernst lamp 28 The birth of the tungsten-filament lamp 29 Drawn tungsten filaments 30 Coiled filaments 30 The halogen incandescent lamp 31 5. Discharge lamps 32 Introduction 32 The beginning 32 High-voltage lamps 33 Early low-pressure mercury lamps 34 The fluorescent lamp 35 High-pressure mercury lamps 36 Sodium lamps 37 The xenon lamp 38 6. Electricity production and distribution 39 Introduction 39 Influence machines and batteries 39 Magneto-electric generators 40 Self-exciting generators 41 The oldest public electricity supply systems 41 The battle of systems 42 The advent of modern a.c. networks 43 The History of Light and Lighting While the lighting industry is generally recognized as being born in 1879 with the introduction of Thomas Alva Edison’s incandescent light bulb, the real story of light begins thousands of years earlier. This brochure was developed to provide an extensive look at one of the most important inventions in mankind’s history: artificial lighting. -
Rushlight Index 1980-2006
Rushlight Cumulative Index, 1980 – 2006 Vol. 46 – 72 (Pages 2305 – 3951) Part 1: Subject Index Page 2 Part 2: Author Index Page 21 Part 3: Illustration Index Page 25 Notes: The following conventions are used in this index: a slash (/) after the page number indicates the item is an illustration with little or no text. MA before an entry indicates a notice of a magazine article; BR indicates a book review. Please note that if issues were mispaginated, the corrected page numbers are used in this index. The following chart lists the range of pages in each volume of the Rushlight covered by this index. Volume Range of Pages Volume Range of Pages 46 (1980) 2305-2355 60 (1994) 3139-3202 47 (1981) 2356-2406a 61 (1995) 3203-3261 48 (1982) 2406b-2465 62 (1996) 3262-3312 49 (1983) 2465a-2524 63 (1997) 3313-3386 50 (1984) 2524a-2592 64 (1998) 3387-3434 51 (1985) 2593-2679 65 (1999) 3435-3512 52 (1986) 2680-2752 66 (2000) 3513-3569 53 (1987) 2753-2803 67 (2001) 3570-3620 54 (1988) 2804-2851 68 (2002) 3621-3687 55 (1989) 2852-2909 69 (2003) 3688-3745 56 (1990) 2910-2974 70 (2004) 3746-3815 57 (1991) 2974a-3032 71 (2005) 3816-3893 58 (1992) 3033-3083 72 (2006) 3894-3951 59 (1993) 3084-3138 1 Rushlight Subject Index Subject Page Andrews' burning fluid vapor lamps 3400-05 Abraham Gesner: Father of Kerosene 2543-47 Andrews patent vapor burner 3359/ Accessories for decorating lamps 2924 Andrews safety lamp, award refused 3774 Acetylene bicycle lamps, sandwich style 3071-79 Andrews, Solomon, 1831 gas generator 3401 Acetylene bicycle lamps, Solar 2993-3004 -
The Electric-Lamp Industry
Massachusetts Institute of Technology Studies of Innovation • GiSma,..=("EaEssormat THE MACMILLAN COMPANY THE ELECTRIC-LAMP INDUSTRY: NEW YORK a BOSTON a CHICAGO DALLAS • ATLANTA • SAN FRANCISCO MACMILLAN AND CO., LIMITED Technological Change and Economic LONDON a BOMBAY a CALCUTTA MADRAS a MELBOURNE Development from 1800 to 1947 THE MACMILLAN COMPANY OF CANADA, LIMITED TORONTO By ARTHUR A. BRIGHT, Jr. THE MACMILLAN COMPANY • NEW YORK 1949 FOREWORD THIS study of the economic development of the electric- lamp industry is the second volume in a series of studies on the economics of innovation, undertaken at the Massachusetts Insti- tute of Technology. The creative role played by science and technology in modern economic life is apparent to everyone. But we know relatively little about the human factors which condition the introduction of technological change into our environment. Are there barriers to innovation inherent in the increasing concentration of power in a few large concerns? Does the patent system, designed as an incentive to invention, act more often as a brake on new develop- ments? What has been the role of key personalities in creating change? Are there lessons to be drawn from the past on how the innovating process can be more effective, not only from the standpoint of achieving a higher standard of material being but from the point of view of smoother human relations? Certainly, material progress at any price is not a satisfactory goal. On the other hand, freedom for creative action in initiating and carrying out new developments is a basic human drive for many individu- als. I believe, personally, that a great society should strive toward a goal which will give to individuals and groups the maximum opportunities for creative expression; yet this means to me that the State must act to prevent the compulsive pressure of some particular group from overriding others to the destruction of human values. -
Technology Meets Art: the Wild & Wessel Lamp Factory in Berlin And
António Cota Fevereiro Technology Meets Art: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020) Citation: António Cota Fevereiro, “Technology Meets Art: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model,” Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020), https://doi.org/10.29411/ncaw.2020.19.2.2. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. License: This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License Creative Commons License. Accessed: October 30 2020 Fevereiro: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model Nineteenth-Century Art Worldwide 19, no. 2 (Autumn 2020) Technology Meets Art: The Wild & Wessel Lamp Factory in Berlin and the Wedgwood Entrepreneurial Model by António Cota Fevereiro Few domestic conveniences in the long nineteenth century experienced such rapid and constant transformation as lights. By the end of the eighteenth century, candles and traditional oil lamps—which had been in use since antiquity—began to be superseded by a new class of oil-burning lamps that, thanks to a series of improvements, provided considerably more light than any previous form of indoor lighting. Plant oils (Europe) or whale oil (United States) fueled these lamps until, by the middle of the nineteenth century, they were gradually replaced by a petroleum derivative called kerosene. Though kerosene lamps remained popular until well into the twentieth century (and in some places until today), by the late nineteenth century they began to be supplanted by gas and electrical lights. -
History of Electric Light
SMITHSONIAN MISCELLANEOUS COLLECTIONS VOLUME 76. NUMBER 2 HISTORY OF ELECTRIC LIGHT BY HENRY SGHROEDER Harrison, New Jersey PER\ ^"^^3^ /ORB (Publication 2717) CITY OF WASHINGTON PUBLISHED BY THE SMITHSONIAN INSTITUTION AUGUST 15, 1923 Zrtie Boxb QSaftitnore (prcee BALTIMORE, MD., U. S. A. CONTENTS PAGE List of Illustrations v Foreword ix Chronology of Electric Light xi Early Records of Electricity and Magnetism i Machines Generating Electricity by Friction 2 The Leyden Jar 3 Electricity Generated by Chemical Means 3 Improvement of Volta's Battery 5 Davy's Discoveries 5 Researches of Oersted, Ampere, Schweigger and Sturgeon 6 Ohm's Law 7 Invention of the Dynamo 7 Daniell's Battery 10 Grove's Battery 11 Grove's Demonstration of Incandescent Lighting 12 Grenet Battery 13 De Moleyns' Incandescent Lamp 13 Early Developments of the Arc Lamp 14 Joule's Law 16 Starr's Incandescent Lamp 17 Other Early Incandescent Lamps 19 Further Arc Lamp Developments 20 Development of the Dynamo, 1840-1860 24 The First Commercial Installation of an Electric Light 25 Further Dynamo Developments 27 Russian Incandescent Lamp Inventors 30 The Jablochkofif " Candle " 31 Commercial Introduction of the Differentially Controlled Arc Lamp ^3 Arc Lighting in the United States 3;^ Other American Arc Light Systems 40 " Sub-Dividing the Electric Light " 42 Edison's Invention of a Practical Incandescent Lamp 43 Edison's Three-Wire System 53 Development of the Alternating Current Constant Potential System 54 Incandescent Lamp Developments, 1884-1894 56 The Edison " Municipal -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam. -
Those Magnificent Chandeliers We Are
Those Magnificent Chandeliers We are blessed with a beautiful church, “a model of elegance and good taste” The Mecklenburg Times announced in April 1895 in anticipation of the re-opening of the First Presbyterian Church in Charlotte following an extensive and quite expensive (just over $30,000) rebuilding and remodeling of the church. One of the new and much anticipated features of the 1894-1895 remodeling was the installation of three very large and exquisitely ornate chandeliers. “The First Presbyterian Church is to have the handsomest chandeliers in the State”, revealed the Daily Charlotte Observer in a sneak preview in 1894. Prior to the remodeling, First Presbyterian had been regarded as one the most dimly lit churches in Charlotte, having only 39 lights in total. The Session decided as early as 1888 that new lighting, and lighting with electricity, was highly desirable and some electric lights were added at that time to supplement the gas lights. Electric lighting, though a relatively new technology (it wasn’t until 1883 that the first church in the United States was wired for electricity), was much easier to use and much safer than gas. Electrical lighting was rapidly replacing gas lighting across the country. The chandeliers that were going to adorn First Presbyterian actually had dual fuel capability, thus combining the new technology of electrical lighting with the more proven technology of gas lighting. A fail-safe system seemingly. Each of the chandeliers had 72 lights, 36 electric and 36 gas, for a total potential of 216 lights. Dim lighting at First Presbyterian was going to be a feature of the past. -
Fading Lights, Transitions in Theatre Lighting in a Historical Context
Fading Lights Transitions in theatre lighting in a historical context by Chris Van Goethem (english revision by Gitta Van Goethem) Fading Lights is a cooperative project between the Expertise Center for Technical Theatre and the Stockholm Academy of Dramatic Arts. The project researches the history of lighting with a focus on the transitions between subsequent technologies. In the context of the im- minent transition to more LED sources, it seems useful to us to look at earlier transitions and maybe learn something from them. In other words, we would like to fnd out how the tech- nician, the designer, and the audience have adapted to the transition from candlelight to gas lights, to electrical lighting. The frst types of theatre were performed in daylight or with the lighting equipment that was at hand for domestic use. Those would have been torches, cressets, tapers, etc. In smaller spaces, dipped candles from animal fat were used among other things. Those were cheap, but gave off a conside- rable amount of smoke and stench. Apart from that, lamps based on a wick dipped in vegetable oil were used. Candles from bees wax were expensive en were therefore only used in extraordinary circumstances, when high-ranking people were present. The most important function of these sources of light was making the actors visible. Although we must also point out that some light sources 3 different types of cressets were manipulated by the actors so they could stress certain things. Some light sour- ces were also used purely symbolic to, for ex- ample, show that it was night, even though the play was during the day. -
Light and Dark.Pdf
LIGHT AND DARK DAVID GREENE Institute of Physics Publishing Bristol and Philadelphia c IOP Publishing Ltd 2003 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Multiple copying is permitted in accordance with the terms of licences issued by the Copyright Licensing Agency under the terms of its agreement with Universities UK (UUK). British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN 0 7503 0874 5 Library of Congress Cataloging-in-Publication Data are available Commissioning Editor: Nicki Dennis Production Editor: Simon Laurenson Production Control: Sarah Plenty Cover Design: Fr´ed´erique Swist Marketing: Nicola Newey and Verity Cooke Published by Institute of Physics Publishing, wholly owned by The Institute of Physics, London Institute of Physics Publishing, Dirac House, Temple Back, Bristol BS1 6BE, UK US Office: Institute of Physics Publishing, The Public Ledger Building, Suite 929, 150 South Independence Mall West, Philadelphia, PA 19106, USA Typeset in LATEX2ε by Text 2 Text, Torquay, Devon Printed in the UK by J W Arrowsmith Ltd, Bristol CONTENTS PREFACE ix 1 ESSENTIAL, USEFUL AND FRIVOLOUS LIGHT 1 1.1 Light for life 1 1.2 Wonder and worship 4 1.3 Artificial illumination 6 1.3.1 Light from combustion 6 1.3.2 Arc lamps and filament lamps 9 1.3.3 Gas discharge lamps -
LIGHT's LABOUR's LOST Policies for Energy-Efficient Lighting
INTERNATIONAL ENERGY AGENCY LIGHT'S LABOUR'S LOST Policies for Energy-efficient Lighting In support of the G8 Plan of Action Warning: Please note that this PDF is subject to specific restrictions that limit its use and distribution. The terms and conditions are available online at http://www.iea.org/w/ bookshop/pricing.html ENERGY EFFICIENCY POLICY PROFILES 01 - 23 Pages début + 531-537 abbr.qxd 15/06/06 16:55 Page 1 LIGHT'S LABOUR'S LOST Policies for Energy-efficient Lighting In support of the G8 Plan of Action ENERGY EFFICIENCY POLICY PROFILES INTERNATIONAL ENERGY AGENCY The International Energy Agency (IEA) is an autonomous body which was established in November 1974 within the framework of the Organisation for Economic Co-operation and Development (OECD) to implement an international energy programme. It carries out a comprehensive programme of energy co-operation among twenty-six of the OECD’s thirty member countries. The basic aims of the IEA are: • to maintain and improve systems for coping with oil supply disruptions; • to promote rational energy policies in a global context through co-operative relations with non-member countries, industry and international organisations; • to operate a permanent information system on the international oil market; • to improve the world’s energy supply and demand structure by developing alternative energy sources and increasing the efficiency of energy use; • to assist in the integration of environmental and energy policies. The IEA member countries are: Australia, Austria, Belgium, Canada, the Czech Republic, Denmark, Finland, France, Germany, Greece, Hungary, Ireland, Italy, Japan, the Republic of Korea, Luxembourg, the Netherlands, New Zealand, Norway, Portugal, Spain, Sweden, Switzerland, Turkey, the United Kingdom, the United States.