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1 LIGHT PHYSICS Light and Lighting Francesco Anselmo Light Intro Light Animates and Reveals Architecture
1 LIGHT PHYSICS Light and Lighting Francesco Anselmo Light intro Light animates and reveals architecture. Architecture cannot fully exist without light, since without light there would be nothing to see. Yet in architectural design light is usually either expected from nature or developed as an add-on attachment very late in the design process. The course explores the symbiotic relationship between architecture and light. As much as light can reveal architecture, architecture can animate light, making it bounce, scatter, refract, altering its spectrum and colour perception, absorbing it or reflecting it, modulating its path and strength in both space and time. It aims at developing a sensibility and intuition to the qualities of light, whilst giving the physical and computational tools to explore and validate design ideas. 4 7 1 2 5 3 6 1 LIGHT PHYSICS 4 LIGHT ELECTRIC 7 LIGHT CONNECTED 2 LIGHT BIOLOGY 5 LIGHT ARCHITECTURE 3 LIGHT NATURAL 6 LIGHT VIRTUAL Reading list Books Free online resources Bachelard, Gaston. The poetics of space, Beacon Press 1992 • http://hyperphysics.phy-astr.gsu.edu/hbase/ligcon.html Banham, Reyner. The architecture of the well-tempered Environment, Chicago University Press 1984 • http://thedaylightsite.com/ Bazerman, Charles. The languages of Edison’s light, MIT Press 2002 Berger, John. Ways of seeing, Pearson Education, Limited, 2002 • http://issuu.com/lightonline/docs/handbook-of-lighting-design Berger, John. About looking, Bloomsbury Publishing 2009 • http://www.radiance-online.org/ Bluhm, Andreas. Light! The industrial age 1750-1900, Carnegie Museum of Art 2000 Boyce, Peter R. Human Factors in Lighting, Taylor & Francis 2003 Calvino, Italo. -
Colors of the Rainbow 105
©2011 by Connie Bergstein Dow. Published by Redleaf Press, www.redleafpress.org. Unauthorized reproduction or distribution of these pages is strictly prohibited. Colors of the Rainbow 105 This activity is an extended movement study based on the theme of color. It will take about an hour to an hour and a half, including the time it takes to help the children make ribbon bangles. If you expand it into a presentation, plan to add about an extra half hour to hang the large sheet of paper on which you write the children’s suggestions in the opening section of the lesson, hang the paper plate rainbows, place the bangle props, get your music set up, and have the children in their spots ready to begin the dance. What You Need ` a large space ` “Catsup” instrumental (disc 1, track 17), “Goldie Rock” instrumental (disc 2, track 23), “Care of the Earth” instrumental (disc 1, track 16), and “Shine & Brighten” instrumental (disc 2, track 37) ` a large roll of paper; red, yellow, and blue markers; the book Color Dance by Ann Jonas; pipe cleaners and precut ten-inch strips of ribbon in many different colors; crayons of many colors; paper plates What You Do Begin with the children seated in a circle. These places will be their home spots as you introduce each new color. Say to the children: Today we are going to dance about all the colors! What is your favor- ite color? Why is it your favorite color? How does thinking about that color make you feel? First let’s talk about red. -
How the Rainbow Was Made
How the Rainbow Was Made A Creation Tale from the Ojibwe Nation retold by S. E. Schlosser One day when the earth was new, Nanabozho looked out the window of his house beside the wide waterfall and realized that all of the flowers in his meadow were exactly the same offwhite color. How boring! He decided to make a change, so he gathered up his paints and his paintbrushes and went out to the meadow. Nanabozho sat down in the tall grass and arranged his red and orange and yellow and green and blue and violet paint pots next to him. Then he began to paint the flowers in his meadow in many different colors. He painted the violets dark blue and the tiger lilies orange with brown dots. He made the roses red and pink and purple. He painted the pansies in every color combination he could think of. Then he painted every single daffodil bright yellow. Nanabozho hummed happily to himself as he worked in the brilliant daylight provided by Brother Sun. Overhead, two little bluebirds were playing games with each other. The first little bluebird would chase his friend across the meadow one way. Then they would turn around and the second bluebird would chase him back the other way. Zippityzip went the first bluebird as he raced across the sky. Zappityzing went the second bluebird as he chased him in the brilliant sunshine. Occasionally, Nanabozho would shade his eyes and look up…up into the endless blue sky to watch the two little birds playing. -
Esoteric Theories of Color
chapter 18 Esoteric Theories of Color Joscelyn Godwin As with Divine truths so also with colours, we see them as they appear to be, not as they really are. j. stuart bogg1 Although color, like music, is both a science and an art, color theory has al- ways been at a disadvantage vis-à-vis the companion discipline of Harmonics. The latter rests on empirical and mathematical principles, exemplified by the legendary experiments of Pythagoras, which have given rise to the rich vein of musica speculativa that runs parallel to the Western esoteric tradition. Color, lacking harmony’s mathematical anchor and its link to perception (e.g., that the purest perceived interval, the octave, derives from the simplest proportion of 1:2; the perfect fifth from 2:3, and so on), is a fluctuating field, even in its major landmarks such as the primary colors. Its definitions rely not on number but on words, whose translation of the eye’s experience is at best imprecise and at worst contradictory. A second problem is the abstraction of colors from the things colored. To separate them and develop an independent color vocabulary did not come naturally to the ancients, though scholars resist the idea that they didn’t see colors as we do.2 Homer’s “wine-dark sea” and the multiple hues represented by purpureus (the murex dye) are well-known instances of the problem. When Pliny, a walking dictionary and generally so finicky in his categories, comes to write of the color of the eyes, the only one he names is caesius, a word used only of eyes and presumed to mean blue, or gray.3 The classical world, so ad- vanced in harmonics, has little to offer here. -
Model and Visualization of Ray Tracing Using Javascript and HTML5 for TIR Measurement System Equipped with Equilateral Right Angle Prism
Invited talk in parallel session of the 2nd Indonesian Student Conference on Science and Mathematics (ISCSM-2), 11-12 October 2013, Bandung, Indonesia Model and Visualization of Ray Tracing using JavaScript and HTML5 for TIR Measurement System Equipped with Equilateral Right Angle Prism S. Viridi 1 and Hendro 2 1Nuclear Physics and Biophysics, Institut Teknologi Bandung, Bandung 40132, Indonesia 2Theoretical High Energy Physics and Instrumentation, Institut Teknologi Bandung, Bandung 40132, Indonesia [email protected], [email protected] Abstract Trace of ray deviated by a prism, which is common in a TIR (total internal reflection) 2013 measurement system, is sometimes difficult to manage, especially if the prism is an Oct equilateral right angle prism (ERAP). The point where the ray is reflected inside the right- 2 1 angle prism is also changed as the angle of incident ray changed. In an ATR (attenuated total reflectance) measurement system, range of this point determines size of sample. Using JavaScript and HTML5 model and visualization of ray tracing deviated by an ERAP is perform and reported in this work. Some data are obtained from this visualization and an empirical relations between angle of incident ray source θS , angle of ray detector hand θ D′ , [physics.optics] and angle of ray detector θ D are presented for radial position of ray source RS = 25 cm , v1 radial position of ray detector RD = 20 cm , height of right-angle prism t =15 cm , and 0000 . 0 refractive index of the prism n = 5.1 . 1 Keywords: deviation angle, equilateral right angle prism, total internal reflection, JavaScript, HTML5. -
Bringing Optical Metamaterials to Reality
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Bringing Optical Metamaterials to Reality Permalink https://escholarship.org/uc/item/5d37803w Author Valentine, Jason Gage Publication Date 2010 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Bringing Optical Metamaterials to Reality By Jason Gage Valentine A dissertation in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Engineering – Mechanical Engineering in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Xiang Zhang, Chair Professor Costas Grigoropoulos Professor Liwei Lin Professor Ming Wu Fall 2010 Bringing Optical Metamaterials to Reality © 2010 By Jason Gage Valentine Abstract Bringing Optical Metamaterials to Reality by Jason Gage Valentine Doctor of Philosophy in Mechanical Engineering University of California, Berkeley Professor Xiang Zhang, Chair Metamaterials, which are artificially engineered composites, have been shown to exhibit electromagnetic properties not attainable with naturally occurring materials. The use of such materials has been proposed for numerous applications including sub-diffraction limit imaging and electromagnetic cloaking. While these materials were first developed to work at microwave frequencies, scaling them to optical wavelengths has involved both fundamental and engineering challenges. Among these challenges, optical metamaterials tend to absorb a large amount of the incident light and furthermore, achieving devices with such materials has been difficult due to fabrication constraints associated with their nanoscale architectures. The objective of this dissertation is to describe the progress that I have made in overcoming these challenges in achieving low loss optical metamaterials and associated devices. The first part of the dissertation details the development of the first bulk optical metamaterial with a negative index of refraction. -
Download the DIA Color Chart
DEMI-PERMANENT HAIRCOLOR 2 COMPLIMENTARY LINES OF HAIRCOLOR Each with its own benefit & expertise both provide maximum creativity & freedom ADVANCED ALKALINE TECHNOLOGY GENTLE ACID TECHNOLOGY HIGH PERFORMANCE HIGH PERFORMANCE • Demi-permanent crème • Luminous demi-permanent gel-crème • Rich tones, exceptional softness • Zero lift • Covers up to 70% grey • Intense care for the hair THE PROCESS THE PROCESS • Lifts (up to 1.5 Levels with 15-vol), then deposits • Zero lift, deposit only BEFORE COLOR DURING COLOR AFTER COLOR BEFORE COLOR DURING COLOR AFTER COLOR On natural hair, the cuticle The alkaline agents slightly open DIA Richesse has the ability to lighten up On color-treated & DIA Light has an acid The cationic polymers in scales are closed. the hair fiber allowing colorants to 1.5 levels, cover up to 70% white hair sensitized hair, the cuticle pH close to the natural pH of the hair. DIA Light have a resurfacing to penetrate the cuticle. & create rich, profound tones. scales are already open. effect on the cuticle, leaving There is no lift with gentle penetration the hair with amazing shine. of colorants for long lasting color. ADVANCED ALKALINE TECHNOLOGY ADVANCED ALKALINE TECHNOLOGY HIGH PERFORMANCE • Demi-permanent crème • Rich tones, exceptional softness • Covers up to 70% grey THE PROCESS • Lifts (up to 1.5 Levels with 15-vol), then deposits BEFORE COLOR DURING COLOR AFTER COLOR On natural hair, the cuticle The alkaline agents slightly open DIA Richesse has the ability to lighten scales are closed. the hair fiber allowing colorants up to 1.5 levels, cover up to 70% white to penetrate the cuticle. -
WHITE LIGHT and COLORED LIGHT Grades K–5
WHITE LIGHT AND COLORED LIGHT grades K–5 Objective This activity offers two simple ways to demonstrate that white light is made of different colors of light mixed together. The first uses special glasses to reveal the colors that make up white light. The second involves spinning a colorful top to blend different colors into white. Together, these activities can be thought of as taking white light apart and putting it back together again. Introduction The Sun, the stars, and a light bulb are all sources of “white” light. But what is white light? What we see as white light is actually a combination of all visible colors of light mixed together. Astronomers spread starlight into a rainbow or spectrum to study the specific colors of light it contains. The colors hidden in white starlight can reveal what the star is made of and how hot it is. The tool astronomers use to spread light into a spectrum is called a spectroscope. But many things, such as glass prisms and water droplets, can also separate white light into a rainbow of colors. After it rains, there are often lots of water droplets in the air. White sunlight passing through these droplets is spread apart into its component colors, creating a rainbow. In this activity, you will view the rainbow of colors contained in white light by using a pair of “Rainbow Glasses” that separate white light into a spectrum. ! SAFETY NOTE These glasses do NOT protect your eyes from the Sun. NEVER LOOK AT THE SUN! Background Reading for Educators Light: Its Secrets Revealed, available at http://www.amnh.org/education/resources/rfl/pdf/du_x01_light.pdf Developed with the generous support of The Charles Hayden Foundation WHITE LIGHT AND COLORED LIGHT Materials Rainbow Glasses Possible white light sources: (paper glasses containing a Incandescent light bulb diffraction grating). -
Light, Color, and Atmospheric Optics
Light, Color, and Atmospheric Optics GEOL 1350: Introduction To Meteorology 1 2 • During the scattering process, no energy is gained or lost, and therefore, no temperature changes occur. • Scattering depends on the size of objects, in particular on the ratio of object’s diameter vs wavelength: 1. Rayleigh scattering (D/ < 0.03) 2. Mie scattering (0.03 ≤ D/ < 32) 3. Geometric scattering (D/ ≥ 32) 3 4 • Gas scattering: redirection of radiation by a gas molecule without a net transfer of energy of the molecules • Rayleigh scattering: absorption extinction 4 coefficient s depends on 1/ . • Molecules scatter short (blue) wavelengths preferentially over long (red) wavelengths. • The longer pathway of light through the atmosphere the more shorter wavelengths are scattered. 5 • As sunlight enters the atmosphere, the shorter visible wavelengths of violet, blue and green are scattered more by atmospheric gases than are the longer wavelengths of yellow, orange, and especially red. • The scattered waves of violet, blue, and green strike the eye from all directions. • Because our eyes are more sensitive to blue light, these waves, viewed together, produce the sensation of blue coming from all around us. 6 • Rayleigh Scattering • The selective scattering of blue light by air molecules and very small particles can make distant mountains appear blue. The blue ridge mountains in Virginia. 7 • When small particles, such as fine dust and salt, become suspended in the atmosphere, the color of the sky begins to change from blue to milky white. • These particles are large enough to scatter all wavelengths of visible light fairly evenly in all directions. -
Introduction to the Ray Optics Module
INTRODUCTION TO Ray Optics Module Introduction to the Ray Optics Module © 1998–2020 COMSOL Protected by patents listed on www.comsol.com/patents, and U.S. Patents 7,519,518; 7,596,474; 7,623,991; 8,457,932; 9,098,106; 9,146,652; 9,323,503; 9,372,673; 9,454,625; 10,019,544; 10,650,177; and 10,776,541. Patents pending. This Documentation and the Programs described herein are furnished under the COMSOL Software License Agreement (www.comsol.com/comsol-license-agreement) and may be used or copied only under the terms of the license agreement. COMSOL, the COMSOL logo, COMSOL Multiphysics, COMSOL Desktop, COMSOL Compiler, COMSOL Server, and LiveLink are either registered trademarks or trademarks of COMSOL AB. All other trademarks are the property of their respective owners, and COMSOL AB and its subsidiaries and products are not affiliated with, endorsed by, sponsored by, or supported by those trademark owners. For a list of such trademark owners, see www.comsol.com/ trademarks. Version: COMSOL 5.6 Contact Information Visit the Contact COMSOL page at www.comsol.com/contact to submit general inquiries, contact Technical Support, or search for an address and phone number. You can also visit the Worldwide Sales Offices page at www.comsol.com/contact/offices for address and contact information. If you need to contact Support, an online request form is located at the COMSOL Access page at www.comsol.com/support/case. Other useful links include: • Support Center: www.comsol.com/support • Product Download: www.comsol.com/product-download • Product Updates: www.comsol.com/support/updates •COMSOL Blog: www.comsol.com/blogs • Discussion Forum: www.comsol.com/community •Events: www.comsol.com/events • COMSOL Video Gallery: www.comsol.com/video • Support Knowledge Base: www.comsol.com/support/knowledgebase Part number. -
Physics, Chapter 40: Light As a Wave Motion
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Robert Katz Publications Research Papers in Physics and Astronomy 1-1958 Physics, Chapter 40: Light as a Wave Motion Henry Semat City College of New York Robert Katz University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/physicskatz Part of the Physics Commons Semat, Henry and Katz, Robert, "Physics, Chapter 40: Light as a Wave Motion" (1958). Robert Katz Publications. 177. https://digitalcommons.unl.edu/physicskatz/177 This Article is brought to you for free and open access by the Research Papers in Physics and Astronomy at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Robert Katz Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 40 Light as a Wave Motion 40-1 Wave Versus Particle Let us recount some of the characteristics of the motion of particles and the propagation of waves, with a view toward analyzing the behavior of light. In accordance with Newton's first law, a particle moves in a straight-line path in the absence of external forces. Thus we might infer, as Newton suggested, that light is composed of particles, and that, in a continuous medium, there is no deflecting force on the light particles. At the interface between two media, light may be propagated in a straight line parallel to the interface. Thus even at an interface there is no force on the particles of light unless the light passes through the interface, and in that event the force acting must be perpendicular to the interface. -
Liquicolor Permanente Shades 07-10-12.Pdf
LIQUICOLOR PERMANENTE INTENSE INTENSE INTENSE INTENSE GOLD RED NEUTRAL (RN) INTENSE RED (RR) RED VIOLET (RV) RED VIOLET (RRV) BASE INTENSE NEUTRAL (NN) NEUTRAL (N) ASH (A) ASH (A) ASH (AA) ASH (AA) NEUTRAL(GN) GOLD (G) REDPELIRROJO NEUTRAL (RN) RED (R) INTENSEPELIRROJO RED (RR) REDPELIRROJO VIOLET (RV) REDPELIRROJO VIOLET (RRV) NEUTRAL INTENSO NEUTRAL CENIZO CENIZO CENIZO INTENSO CENIZO INTENSO DORADO NEUTRAL GOLDDORADO (G) PELIRROJONEUTRAL PELIRROJORED (R) PELIRROJOINTENSO PELIRROJOVIOLETA VIOLETAPELIRROJO INTENSO LEVEL/NIVEL DORADO NEUTRAL PELIRROJO INTENSO VIOLETA VIOLETA INTENSO 12 HIGH-LIFT BLONDE 12N/HL-N 12A/HL-V 12AA-B/HL-B 12AA-BV 12G / HL-G HIGH LIFT HIGH LIFT HIGH LIFT ULTRA HIGH LIFT ULTRA HIGH LIFT GOLDEN BLONDE NEUTRAL BLONDE COOL BLONDE COOL BLONDE BLUE COOL BLONDE BLUE VIOLET 10 LIGHTEST BLONDE RUBIO CLARÍSIMO 10N/12B1 10GN/12G2 OUR FIRST NN 10G / 12G LIGHTEST NEUTRAL BLONDE LIGHTEST GOLD LIQUID COLOR LIGHTEST GOLDEN BLONDE blondest beige NEUTRAL BLONDE blondest blonde blondest gold 9 VERY LIGHT BLONDE RUBIO MUY CLARO 9NN 9N/89N 9A/26D 9A-N/40D 9AA/20D 9AA-BV/30D VERY LIGHT RICH VERY LIGHT VERY LIGHT VERY LIGHT COOL VERY LIGHT ULTRA VERY LIGHT ULTRA COOL NEUTRAL BLONDE NEUTRAL BLONDE COOL BLONDE NEUTRAL BLONDE COOL BLONDE BLONDE BLUE VIOLET lightest neutral blonde winter wheat topaz arctic blonde flaxen blonde 8 LIGHT BLONDE RUBIO CLARO 8NN 8N/88N 8A / 28D 8GN/27G 8RN / 71RG 8R / 29R LIGHT RICH LIGHT LIGHT COOL BLONDE LIGHT GOLD NEUTRAL LIGHT RED NEUTRAL LIGHT RED BLONDE NEUTRAL BLONDE NEUTRAL BLONDE autumn mist BLONDE