The Basics of Metallurgy
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MIRROR MIRROR the Mind’S Mirror FILMS Seaglass 4 Restaurant 5 Outdoor Exhibits with Zarinah Agnew 7:30 P.M
AFTER DARK AFTER DARK SCHEDULE MAP PRESENTATIONS ACTIVITIES Upper Level Bay Observatory Gallery and Terrace 6 Observing Landscapes Mirrors in Technology and Art Through the Looking Glass Mirrors in Technology and Art With Sebastian Martin With the Explainers 6 With Sebastian Martin 6:30–8:30 p.m. | Bay Observatory Gallery 6:30–9:30 p.m. | Central Gallery 6:30–8:30 p.m. THURSDAY, OCTOBER 1, 2015 A Reflection on Mirrors Light Boxes and Anamorphic Mirrors The History of Mirrors 6:00—10:00 P.M. With Ron Hipschman With Explorables With Massimo Mazzotti 7:00 and 9:00 p.m. 7:00–10:00 p.m. | Central Gallery Main Level 8:30 p.m. Phyllis C. Wattis Webcast Studio BAR North Gallery MIRROR MIRROR The Mind’s Mirror FILMS SeaGlass 4 Restaurant 5 Outdoor Exhibits With Zarinah Agnew 7:30 p.m. | Kanbar Forum On Reflection East Gallery 9:00 p.m. | Kanbar Forum 4 Living Systems The History of Mirrors East With Massimo Mazzotti Corridor Contemplando la Ciudad (2005, 4 min.) Central Gallery 8:30 p.m. | Bay Observatory Gallery by Angela Reginato 5 3 Seeing & Listening Visions of a City (1978, 8 min.) by Lawrence Jordan A Reflection on Mirrors INSTALLATIONS BAR 3 With Ron Hipschman Suspended 2 (2005, 5 min.) by Amy Hicks Wattis 7:00 and 9:00 p.m. The Infinity Boxes Webcast Phyllis C. Wattis Webcast Studio Studio By Matt Elson Pier 15 (2013, 4 min.) by Michael Rudnick 6:00–10:00 p.m. | Central Gallery The Infinity Boxes By Matt Elson Visible Spectres 6:00–10:00 p.m. -
2000 Stainless Steels: an Introduction to Their Metallurgy and Corrosion
Dairy, Food and Environmental Sanitation, Vol. 20, No. 7, Pages 506-517 Copyright© International Association for Food Protection, 6200 Aurora Ave., Suite 200W, Des Moines, IA 50322 Stainless Steels: An Introduction to Their Metallurgy and Corrosion Resistance Roger A. Covert and Arthur H. Tuthill* and why they sometimes do not. In most cases, selection of the proper stainless steel leads to satisfactory performance. COMPOSITION, NOMEN- CLATURE AND GENERAL PROPERTIES Most metals are mixtures of a primary metallic element and one or more intentionally added other ele- This article has been peer-reviewed by two professionals. ments. These mixtures of elements are called alloys. Stainless steels are alloys, as are brasses (copper + zinc), bronzes (copper + tin), the many alu- INTRODUCTION better understanding of stainless minum alloys, and many other me- Worldwide, in industry, in busi- steels, especially to the non-metal- tallic materials. In general, solid ness and in the home, metals called lurgist. metals and alloys consist of randomly stainless steels are used daily. It is Industries are concerned with oriented grains that have a well-de- important to understand what these integrity of equipment and product fined crystalline structure, or lattice, materials are and why they behave purity. To achieve these, stainless within the grains. In stainless steels, the way they do. This is especially steels are often the economical and the crystalline structures within the true because the word “stainless” is practical materials of choice for pro- grains have been given names such as itself somewhat of a misnomer; these cess equipment. However, before ferrite, austenite, martensite, or a materials can stain and can corrode intelligent decisions can be made mixture of two or more of these. -
The Smart Mirror Technology
THE SMART MIRROR TECHNOLOGY A STYLISH MIRROR - WITH UNIQUE EXTRA FEATURES • A COMPLETE DIGITAL SIGNAGE SOLUTION • HIGH BRIGHTNESS SCREEN COMBINED WITH MEDIA PLAYER & FULL FUNCTIONAL CONTENT MANAGEMENT SYSTEM • DECORATIVE AND INFORMATIVE • PROVIDING INFORMATION THROUGH A NON-DISTURBING WAY ADMIRING OURSELVES IN MIRRORS COMES AS NATURALLY TO US AS BREATHING. WHETHER WE BASK IN OUR MAGNIFICENCE, LOOK FOR FLAWS OR SIMPLY TRY TO MAKE OURSELVES AS PERFECT AS POSSIBLE WE SPEND A MUCH TIME LOOKING AT OUR REFLECTIONS. SO WHY NOT COMBINE THIS MOST MUNDANE HUMAN INSTINCT WITH THE REALM OF INFINITE POSSIBILITIES? IN THE WORLD OF COMMERCIALS, ALMOST EVERYONE HAS A SELECTIVE BLINDNESS FOR ORDINARY MARKETING TOOLS. PROVIDE YOUR CUSTOMERS WITH DESIRED INFORMATION AND TARGETABLE MESSAGES ON A SURFACE THEY WOULD NEVER EXPECT TO GET IT. LEAVE A LASTING IMPRESSION WITH THE DENSION SMART MIRROR TECHNOLOGY. CONTENT & DEVICE MANAGEMENT THE MIRROR IS AVAILABLE IN FIVE DIFFERENT SIZES: MINI, SMALL, MEDIUM, LARGE, X-LARGE. CUSTOMERS MAY CHOOSE THE EXACT SIZE OF THE GLASS WITH A GIVEN SURFACE MAXIMUM. CUSTOMIZED MIRROR AND SCREEN COMBINATIONS ARE ALSO AVAILABLE IN HIGHER VOLUMES, PLEASE GET IN TOUCH TO DISCUSS. [email protected] FRONT VIEW MINI SMALL MEDIUM LARGE X-LARGE Display size (inch) 10 32 42 46 55 Display resolution HD Full HD Full HD Full HD Full HD Max Mirror Surface 0,9 0,9 2 2 (sqm) UPPER SIDE VIEW Minimum Width 250 870 1 100 1 180 1 380 (mm) Minimum Height 150 570 690 740 850 (mm) Depth (mm) 30 45 45 45 45 45 ° ANGLE REAR VIEW Weight (kg) 2 18 25-30 35-38 -
The Neolithic Copper Melting Crucibles from Switzerland
In: A. Shortland, I. Freestone and Th. FromRehren mine (eds) to microbe 2009, From Mine to Microscope, 155-162 155 Chapter 15 From mine to microbe – the Neolithic copper melting crucibles from Switzerland Th. Rehren1 Abstract The occurrence of chalcopyrite in several late Neolithic crucibles from NW Switzerland and SW Germany has been variously interpreted as indicating evidence for local copper smelting, or being due to post-depositional phenomena. This study uses optical microscopy and a discussion based on textural and micro-stratigraphical arguments to demonstrate that chalcopyrite is a late formation and not indicative of copper smelting. This has significant implications for the technological and archaeological interpetation of these finds, but also illustrates the potential of image-based studies in science-based archaeology. Introduction these cultures back into line with their neighbours. The emergence and spread of metallurgy in Europe Only after a further half a millennium or so metal- is a major concern of archaeological and archaeo- lurgy emerges again in Central Europe, heralding the metallurgical research. In the 1960s scholars such as beginning of the Bronze Age throughout the Contin- Renfrew and Branigan focused their attention – and ent. This time, it is a broad and sustained develop- consequently that of others – on the role which metals ment with no particular emphasis on the Swiss or have played in the development of stratified societies southwest German regions. and the emergence of elites, showing off with their It is against this background that the crucible access to these new materials. The Balkans and fragments of the Pfyn culture have attracted attention Western Asia are now both known to have had for more than a century, having been found at a wide metallurgically competent Neolithic cultures, and range of sites and representing certainly several issues of technology transfer and autochthonous dozen different vessels. -
Art in the Mirror: Reflection in the Work of Rauschenberg, Richter, Graham and Smithson
ART IN THE MIRROR: REFLECTION IN THE WORK OF RAUSCHENBERG, RICHTER, GRAHAM AND SMITHSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Eileen R. Doyle, M.A. ***** The Ohio State University 2004 Dissertation Committee: Approved by Professor Stephen Melville, Advisor Professor Lisa Florman ______________________________ Professor Myroslava Mudrak Advisor History of Art Graduate Program Copyright by Eileen Reilly Doyle 2004 ii ABSTRACT This dissertation considers the proliferation of mirrors and reflective materials in art since the sixties through four case studies. By analyzing the mirrored and reflective work of Robert Rauschenberg, Gerhard Richter, Dan Graham and Robert Smithson within the context of the artists' larger oeuvre and also the theoretical and self-reflective writing that surrounds each artist’s work, the relationship between the wide use of industrially-produced materials and the French theory that dominated artistic discourse for the past thirty years becomes clear. Chapter 2 examines the work of Robert Rauschenberg, noting his early interest in engaging the viewer’s body in his work—a practice that became standard with the rise of Minimalism and after. Additionally, the theoretical writing the French phenomenologist Maurice Merleau-Ponty provides insight into the link between art as a mirroring practice and a physically engaged viewer. Chapter 3 considers the questions of medium and genre as they arose in the wake of Minimalism, using the mirrors and photo-based paintings of Gerhard Richter as its focus. It also addresses the particular way that Richter weaves the motifs and concerns of traditional painting into a rhetoric of the death of painting which strongly implicates the mirror, ultimately opening up Richter’s career to a psychoanalytic reading drawing its force from Jacques Lacan’s writing on the formation of the subject. -
The Evolution of Engineering Materials
Paper ID #20611 The Evolution of Engineering Materials Dr. Amber L. Genau, University of Alabama at Birmingham Dr. Amber Genau is an assistant professor in the Materials Science and Engineering Department at the University of Alabama at Birmingham. She received her B.S. and M.S. from Iowa State University and Ph.D. from Northwestern University, all in materials engineering. Before coming to UAB, Dr. Genau spent two years as a guest scientist at the German Aerospace Center in Cologne, Germany, working on metal solidification and microstructural characterization. She is particularly interested in broadening participation in engineering and providing international experiences and perspectives to undergraduate students. c American Society for Engineering Education, 2017 The Evolution of Engineering Materials Abstract This paper describes the development of an upper level engineering elective entitled “The Evolution of Engineering Materials.” The course considers how the discovery of new materials and the ability of process materials in new ways has influenced the course of history, shaping both human societies and their surrounding environments, from the Stone Age to the Modern Era. Students become familiar with a variety of still-relevant technical content through the consideration of historical activity, from smelting and coking to polymerization reactions and cross linking. The course addresses a variety of ABET outcomes while also supporting the development of global competency through an increased appreciation of world history. Although this course was developed for and taught in the context of a three-week study abroad trip to Europe, the engaging and accessible nature of the content could also make it valuable as a service course for non-engineering majors. -
M Have Certain Distinctive Properties Which Seem to Have Appealed To
OUP UNCORRECTED PROOF – FIRSTPROOFS, Fri Dec 05 2014, NEWGEN !"#$%&' )* !"# $%&'( )#(*+,-&. */0 123&#''%-/' -4 5-6%*+ 8-,#& +,-.&' /&01, 2#%"#'34& 5#-.&' I!"#$%&'"($! M&%#-6 have certain distinctive properties which seem to have appealed to European Neolithic and later communities: brilliance, magical transformations behind their crea- tion, and potential for re-melting, re-casting, and re-modelling. 7ey were also valued for their colours: gold for the sun, high on the horizon, copper for the setting sun or the blood of life, and silver for the moon. In the formative years of metallurgy, copper and its ores appear to have held primarily aesthetic roles as cosmetic colours, beads, and other personal adornments. 7ey are likely to have been recognized as rare and precious, and were later mobilized in social di8erentiation. 7e adoption of metals altered economies and social relations, and triggered cra9 specialization. 7e roots of social di8erentia- tion were already present in some Neolithic communities, yet the uneven distribution of metal ores, like certain types of stone already, became elements in long-distance exchange networks and eventually trade. 7is paper attempts to go beyond simplistic ideas of metals in social strati:cation: it presents a more complex picture, outlining sim- ilarities and di8erences geographically in the presence and role of metallurgy during an early, middle, and late Copper Age. 03_3-part.indd 673 12/5/2014 7:57:19 PM OUP UNCORRECTED PROOF – FIRSTPROOFS, Fri Dec 05 2014, NEWGEN ;<= /&01, 5#-.&' T)* E+#,(*-" M*"+,,&#./ (! E&#$0*: A N*+# E+-"*#! O#(.(!2 The origins of metals can be found in the zone from which farming and animal husbandry came: the so-called ‘Fertile Crescent’ and adjacent Anatolia, the west- ernmost protrusion of Asia, comprising the majority of modern-day Turkey. -
Transformative Copper Metallurgy in Chalcolithic Cyprus: a Reappraisal Bleda S
Antiquity 2021 Vol. 95 (381): 670–685 https://doi.org/10.15184/aqy.2020.171 Research Article Transformative copper metallurgy in Chalcolithic Cyprus: a reappraisal Bleda S. Düring1,*, Sarah De Ceuster2, Patrick Degryse1,2 & Vasiliki Kassianidou3 1 Faculty of Archaeology, Leiden University, the Netherlands 2 Earth and Environmental Sciences, KU Leuven, Belgium 3 Archaeological Research Unit, Department of History and Archaeology, University of Cyprus, Cyprus * Author for correspondence: ✉ [email protected] The extraction and smelting of the rich copper ore deposits of Cyprus and the manufacture of copper objects on the island are thought to have begun dur- ing the Philia phase (c. 2400–2200 BC). Here, the authors present the results of lead isotope analysis undertaken on Late Chalcolithic (2900–2400 BC) metal objects from the site of Chlorakas-Palloures. The results facilitate a reassessment of the timing of the start of transformative copper technologies on Cyprus and the re-evaluation of contemporaneous copper artefacts from Jordan and Crete previously suggested to have been consistent with Cypriot ores. They conclude that there is no compelling evi- dence for transformative metallurgy in Chalcolithic Cyprus. Keywords: Cyprus, Chalcolithic, Philia phase, archaeometallurgy, copper, lead isotope analysis Introduction Cyprus was a major producer of copper in antiquity, and, as a consequence, the metal and the island toponym (from the Greek ‘Kúpros’) became synonymous (Kassianidou 2014). The question of when and how copper production and metallurgy started on the island, however, has proven difficult to answer. The earliest references to Cypriot copper exports date to the nineteenth to seventeenth centuries BC, occurring in cuneiform texts from Mari and Alalakh —both in the Northern Levant—and from Babylonia (Muhly 1972; Knapp 1996). -
The Metallurgy of Some Carat Gold Jewellery Alloys
The Metallurgy of Some Carat Gold Jewellery Alloys PART I — COLOURED GOLD ALLOYS Allen S. McDonald and George H. Sistare Handy & Harman, Fairfield, Connecticut, U.S.A. The classification of gold alloys in terms of caratage and colour provides no guidance as to the properties and working characteristics of the many carat gold alloys used in jewellery fabrication. Logical relationships do exist, however, between the composition, metallurgical structure and properties of such alloys, and these emerge from a study of the phase diagrams of the alloy systems involved. Part I of this review deals with coloured gold alloys. Part II will discuss their nickel containing counter- parts and will appear in the next issue of Gold Bulletin. Most carat gold for jewellery falls into one or other Three quasi-binary vertical sections of the ternary of two major categories, the coloured gold alloys diagram at constant gold contents characteristic of based on the gold-silver-copper or the gold-silver- jewellery alloys (10, 14 and 18 carat) are schematical- copper-zinc system and the white gold alloys. ly represented in Figure 4 where the parameter used Although many coloured gold alloys contain zinc on the abscissa is defined as: (from less than 1 to about 15 weight per cent), it is Ag wt.% valid to introduce this group in terms of the gold- Ag' = x 100 (per cent) silver-copper ternary system, from which all of the Ag wt.°Io + Cu wt.% alloys inherit certain fundamental metallurgical characteristics. After establishing these, the effects of Gold-silver-copper and gold-silver-copper-zinc- zinc will be introduced, and it will then be seen that alloys can be logically classified and discussed in in the amounts used this element does not change terms of two parameters, namely the caratage or gold these characteristics in kind but rather interacts to content and Ag'. -
Introduction to Precious Metals 1 / Introduction
Introduction to precious metals 1 / introduction Introduction to Precious Metals Metallurgy for Jewelers & Silversmiths Mark Grimwade Introduction to precious metals Introduction to Precious Metals Metallurgy for Jewelers and SIlversmiths by Mark Grimwade Copyright 2009 Mark Grimwade Brynmorgen Press Brunswick, Maine 04011 USA www.brynmorgen.com ISBN: 978-1-929565-30-6 First printing Editors Tim McCreight All rights reserved. No part of this publication Abby Johnston may be reproduced or transmitted in any form Illustrations Michael Deles or by any means, electronic or mechanical, Proofreading Jay McCreight including photocopying, recording, or any storage Index Margery Niblock and retrieval system except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper, web posting, or broadcast. [ iv ] Introduction to precious metals Table of Contents Introduction xi Chapter 1 Physical Properties of the Precious Metals 16 Chapter 2 Mechanical Properties of the Precious Metals 26 Chapter 3 Chemical Properties of the Precious Metals 39 Chapter 4 Occurrence, Extraction, and Refining 44 Chapter 5 Alloying Behavior 56 Chapter 6 Principles of Solidification 72 Chapter 7 Principles of Working and Annealing 83 Chapter 8 Silver and Its Alloys 91 Chapter 9 Gold and Its Alloys: the Karat Golds 100 Chapter 10 The Platinum Group Metals and Their Alloys 116 Chapter 11 Melting, Alloying, and Casting 126 Chapter 12 Working and Annealing Practice 144 Chapter 13 Joining Techniques 165 Chapter 14 Electroplating and Allied Processes 180 Chapter 15 The Use of Powder Metallurgy in Jewelry Manufacture 193 Chapter 16 Surface Decoration and Other Decorative Techniques 200 Chapter 17 Assaying and Hallmarking 207 [ [47 v ] ] Introduction to precious metals Foreword If you work with precious metal, you need to read this book. -
Public Art Program OVERVIEW
Public Art Program OVERVIEW Artwork has been a critical component of the Phoenix Convention Center since it originally opened in 1972. Building upon this civic commitment to the arts, the City, through the Phoenix Office of Arts and Culture Public Art Program, commissioned new artworks by local, regional and national artists to be incorporated into the expanded Phoenix Convention Center. These works offer a variety of perspectives on life in Phoenix, the United States, and the world in the 21 st century, and join several other pieces in the Convention Center’s extensive collection. Public Art Program Budget and Funding: The art projects are funded through the City's Public Art Program. The program, established in 1986, has involved artists in the design of every kind of city building and space, ranging from streetscapes, freeway overpasses and pedestrian bridges, to canal trails, parks and libraries. The Phoenix Public Art Program is managed by the Phoenix Office of Arts and Culture and has commissioned more than 120 public art projects in the past 20 years. The Phoenix Convention Center’s $3.2 million public art budget comes from three capital improvement program bonds: • Phoenix Convention Center (Civic Plaza) Capital Improvement Percent for Art Funds • Street Transportation Capital Improvement Percent for Art Funds • Water Department Capital Improvement Percent for Art Funds Artist Selection Process: A “call to artists ” process was issued by the Phoenix Office of Arts and Culture. A 10-member public art panel for the Phoenix Convention Center expansion project was assembled, including local artists and representatives from the Phoenix Arts and Culture Commission, the Phoenix Convention Center, and local cultural organizations. -
Memory and Privacy in the Entire History of You
Memory and Privacy in The Entire History of You Bianca Rodrigues Teixeira and Flavia Maria Santoro 1 Federal University of the State of Rio de Janeiro, Rio de Janeiro, RJ, Brazil {bianca.teixeira, flavia.santoro}@uniriotec.br Abstract. Privacy is a concerning issue today, with millions of people sharing their everyday lives on various social media platforms. Everything people share can be considered as part of their digital memory, which can be consisted of thoughts and feelings posted online. Memory is the focus of “The entire history of you”, third episode of British television series “Black Mirror”. The characters use a device that records and saves what their eyes see, and it's also possible to browse through all previous memories. The device contains most, if not all, of the user's life, which is undoubtedly useful in many daily events, like court cases, debates, reliving previous experiences, security checking, etc. However, it can be a huge problem if somebody tries to see memories that are supposed to be private. To try to combat that possibility, we defined an ontology for Digital Memory and specified our proposal of new features for the device regarding privacy using artificial intelligence. We believe that there is still room for improvement and for more discussion about video-memory and privacy, which is a topic that is not frequently debated. Keywords: memory, privacy, black mirror, ontology 1 Introduction In the past few years, technology has experienced some major advancements. British television series “Black Mirror” highlights several scenarios in which those said advancements could potentially lead to a dystopian society.