JSR 2011 Artificial Light in the 19Th Century
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Fire As a Physical Process
1.3 Energy transfer and the stages of combustion Understanding the principles of combustion, can we begin to see how fires initiate and spread? To complete the fire triangle, energy must move through space from a source to a “fuel” initiation oxygen energy THE COMBUSTION TRIANGLE How does this happen? combustible material Heat is a form of energy • Heat (or thermal energy) is proportional to molecular movement of matter, i.e., kinetic energy (KE) • The Kelvin scale measures the energy content of matter, starting at absolute 0 (- 273° C) • Heated objects emit radiation in the electromagnetic spectrum (EMS): • In the range we will deal with, mostly in the infrared • Even higher velocities emit in higher-frequency bands of the EMS See the “Ask a Scientist” excerpt posted for this lecture international light association, http://www.international-light-association.org Three basic modes of energy transfer: Conduction Radiation Convection A general principle of heat transfer: • Heat transfers between bodies according to the second law of thermodynamics (which in this case says that heat flows from high to low energy states, i.e., hot to cold bodies – In other words, heat flows down energy gradients – This goes a long way to explaining much of how fires behave 1. Conduction Movement of energy through a solid, or between solids in contact by molecular motion • Depends on thermal conductivity and energy gradient of material (conductors, insulators) • Also depends on amount of area of contact • Examples? • touching a hot metal object, e.g. a saucepan handle • heating water by an immersion coil • melting lead solder with a soldering iron • putting an ice cube on your skin Conductivity (ability of a material to conduct energy) The transfer of heat between molecules in contact with one another. -
A Tungsten Filament Is Drawn to a Very Uniform Diameter When It Is Manufactured
http://invsee.eas.asu.edu/nmodules/lightbulbmod/burnout.html A tungsten filament is drawn to a very uniform diameter when it is manufactured. As a result, when a light bulb is first turned on the filament emits light relatively evenly along the length of the filament. Explore the failure of a filament using the following movie which shows an accelerated view of a filament failing. Notice how the light emitted from the filament changes intensity and location with time. Why does the filament get bright at one point before it fails ? Standard electrical outlets in the United States provide 110 volt (V) electricity. For an incandescent light bulb, the electric current (i) used to heat the filament is determined by the electrical resistance (R) of the filament according to Ohm’s Law: V = i R Electric power (P) is the rate of conversion of electrical energy to another form, such as heat. For a resistor, such as a tungsten light bulb filament, the power may be expressed as: P = i2 R = V2/R. The voltage drop across the filament is essentially constant. As a result, when R varies, so does i. In particular, R can vary locally with the cross-sectional area of the filament: R = ρ (l/s), where ρ is the specific resistance of tungsten (ohms), l is the length of a filament region (cm) and s is the cross-sectional area of the filament region locally (cm2). If the cross-sectional area of the filament changes with time to vary along its length, the current passing through each part of the filament will remain constant. -
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. -
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. -
Candle Safety Candles Are a Source of Light and Delight When Used Properly
Candle Safety Candles are a source of light and delight when used properly. However, People have safely enjoyed using candles for centuries. if certain precautions are Their colors and scents enhance everyday life and not taken, candles can evoke memories of special events. also become a factor in a chain of events that can result in unnecessary injury and fires. DURING POWER OUTAGES CANDLE SAFETY TIPS • Use a flashlight instead of a candle whenever possible. CANDLE USAGE TIPS • Always use a flashlight, not a candle, for emergency lighting. • Avoid carrying a lit candle. • Recommended burning time is Don’t use a lit candle when one hour per inch diameter of the • Consider using battery-operated • searching for items in a confined candle. flameless candles. space. • Keep candles at least 12-inches from flammable materials. • Never use a candle for a light when checking pilot lights or • Use sturdy, safe candle holders. fueling equipment. The flame may • Never leave a burning candle ignite the fumes. unattended. • Be careful not to splatter wax CANDLES AND when extinguishing a candle. CHILDREN • Avoid using candles Keep candles out of reach of • Hold your finger in front of the • in bedrooms and children, and never leave a child flame as you blow the candle out. sleeping areas. unattended with a lit candle. The air will flow around your finger and extinguish the candle from both • A child should not sleep in a room sides. This prevents any hot wax with a lit candle. from splattering. • Don’t allow children or teens to have candles in their bedrooms. -
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. -
Cyclops 2011 Workbook
HEADLAMPS RANGER CYC-RNG1 NOTES 1 Watt 4 Stage LED Headlamp UPC: 8-13628-08277-4 MP/24 IP/6 • CREE 1 Watt clear bulb for center light • 4 mode lighting; center white, 3 bottom green LED’s, 4 side red LED’s, plus red LED strobe • Adjustable nylon headband • Weather resistant • ABS rubberized housing for durability • Powered by 3 AAA batteries (included) CYC-903C Black UPC: 8-13628-01082-1 MP/48 IP/6 PHOENIX CYC-903NXTCMO Camo Krypton 3 LED Headlamp UPC: 8-13628-00564-3 MP/48 IP/6 • 2-way switch for dual light source • Shock resistant, rugged construction • Water resistant • Adjustable nylon headband • Burn Time: Krypton 2.5 Hrs., 3 LED’s 30 Hrs. • Includes 3 AAA batteries CYC-906C Black UPC: 8-13628-01080-7 MP/48 IP/6 HELIOS CYC-906NXTCMO Camo 6 LED Headlamp UPC: 8-13628-00566-7 MP/48 IP/6 • 2-way switch to vary light levels • Lightweight, weighs less than 3 oz. • Water resistant • Adjustable nylon headband • Burn Time: 6 LED’s 27 Hrs., 3 LED’s 33 Hrs. • Includes 3 AAA batteries ATOM LED Magnifier Headlamp • Ultra lightweight, weighs only 1oz. • Magnifier lens projects light up to 15 ft. • Reversible headband • Weatherproof • Water resistant • Includes 2 CR2016 lithium batteries CYC-ULH1-O Orange UPC: 8-13628-01294-8 MP/48 IP/6 CYC-ULH1-B Black 45 degree rotating projection UPC: 8-13628-01292-4 MP/48 IP/6 CYC-ULH1-S Silver UPC: 8-13628-01296-2 MP/48 IP/6 CYC-ULH1-CMO D-Max Green Detachable clip light UPC: 8-13628-01506-2 MP/48 IP/6 1 SPOTLIGHTS THOR Colossus C18MIL-FE NOTES 18 Million Candle Power Rechargeable Spotlight UPC: 8-13628-07248-5 -
Cycle Lights 2019
CYCLE LIGHTS 2019 XPOSURE LIGHTS always push the boundaries of lighting performance. The 2019 range brings innovative new E technologies and the latest LEDs ensuring Exposure remains ahead of the game. Upgrades throughout the range mean whatever your ride, your light just got better. YNC Bluetooth connectivity enables the rider to personalise the light outputs through an app and gives wireless S JVU[YVS"9L(2;(TIPLU[3PNO[;LJOUVSVN`KLSP]LYZH\[VTH[PJHKHW[PUNYLHYSPNO[PUJYLHZPUNZHML[`HUKYLÄULK 9LÅL_IVVZ[ZL]LUIYPNO[LY^P[OPTWYV]LKI\YU[PTLHJJ\YHJ` +LZPNULKI\PS[HUK[LZ[LKPU.YLH[)YP[HPUX\HSP[`PZHZZ\YLKNP]PUN`V\[OLJVUÄKLUJL[V 6^U;OL5PNO[ TECHNOLOGIES REFLEX+ SYNC REFLEX+ Technology enables the light to automatically adjust SYNC is the latest technology, using a Bluetooth controlled EULJKWQHVVWR\RXUULGLQJVW\OHE\GHWHFWLQJDLUñRZJUDGLHQW App to create bespoke burn times and output with remote and cornering forces. Reaching full power for steep descents switch control, it allows the rider to have simultaneous and reducing output for slow climbs. Improvement of the command of both helmet and handlebar lights to give the technology now means that the light will dim to a low level ultimate smart operation. when stationary increasing ride time by 50% compared to constant output. REAKT TAP ReAKT (Ambient Kinetic Technology) is the next generation of TAP (Tap Activated Power) is an innovative way to quickly rear lighting, a light that adapts to the conditions of the ride. switch between modes by tapping either the body of the light %\ñDULQJXSXQGHUEUDNLQJIRUFHVRUDXWRPDWLFDOO\DGMXVWLQJ RUKHOPHWZLWKRXWWKHQHHGWRðQGDEXWWRQIRUIDVWUHOLDEOH to the surrounding ambient light ReAKT Technology makes control to match the pace of the trail. -
Mining & Milling
Mining & Milling The Story of Park City 8TH GRADE SCIENCE CURRICULUM © Park City Historical Society & Museum All Rights Reserved These materials and the photographs are copyrighted by the Park City Historical Society & Museum. Permission is granted to make photocopies and transparencies of the handouts as directed in the lesson plans. Please contact the Park City Historical Society & Museum for permission to use materials for any other purpose. This program was developed by Johanna Fassbender, Curator of Education With special thanks to Richard Pick Keith J. Droste Thanks also to Courtney Cochley Josephine Janger David Hedderly-Smith James L. Hewitson Tom Barber Sydney Reed Park City Rotary Çlub Summit County Recreation, Arts and Parks Program The Underdog Foundation Dear Teachers, We hope that you will enjoy the 8th grade science curriculum and use it with your students to teach major physical and chemical con- cepts. Each lesson is keyed to the Utah Science Core Curriculum to help you deliver science instructions. Our curriculum includes history sections to provide the students with the appropriate background knowledge and get them excited about their hometown of Park City which was the unique setting for the science of mining and mineralo- gy. This goes along with our belief in an interdisciplinary approach which provides students with a more holistic knowledge and will empower them in future research projects. Almost all of the lesson plans allow for adjustments and provide you with different options, depending on the progress of your class. You can teach the entire curriculum within three weeks, or you can extend it to six weeks by slowing down the pace and reducing the workload. -
Unit 1: What Is Energy?
UNIT 1: WHAT IS ENERGY? TEACHER OVERVIEW The three essential resources for any nation are food, water and energy. As a matter of fact, it is energy that helps produce more food and cleaner water for our ever growing global population. Securing and producing enough energy often becomes critical to economic and social stability throughout the world, so we need to know and understand as much as we can about our energy resources. Understanding where energy comes from and how we use it is more important now that at any time in our past as we want to provide a better and longer life for our global community. The energy concept is fundamentally scientific in nature, but it has tremendous personal and social significance. Energy is one of the most fundamental parts of our universe. We cannot see, hear or touch energy, yet we use energy every day. Although energy isn’t visible, we can detect evidence of energy. Movement, sound, heat, and light provide evidence that energy is present and being used. Energy from the sun lights the earth during the day and is used by plants to produce food. Energy lights up our homes and towns; provides the power for our modes of transportation (planes, trains, vehicles, rockets, etc.); warms and cools our homes; cooks our meals; plays our music; powers our phones, computers, tablets and televisions; powers the machinery used by factories, farmers, and construction workers; and too many others to mention. The Sun provides the energy for producers in a food chain to produce food for nearly all other organisms for their survival. -
Type 1501-A Light Meter
OPERATING INSTRUCTIONS • For TYPE 1501-A LIGHT METER GENERAL RADIO COMPANY CAMBRIDGE 39 MASSACHUSETTS NEW YORK CHICAGO LOS ANGELES U. S. A. OPERATING INSTRUCTIONS For TYPE ·1501-A LIGHT METER Form 684-E November, 1952 GENERAL RADIO COMPANY CAMBRIDGE 39 MASSACHUSETTS NEW YORK CHICAGO LOS ANGELES U. S. A. The Light Meter in a Photographic studio. SPECIFICATIONS Light Range: A light range of 64:1 can be Spectral Characteristics: The phototube measured at mid-scale deflection, corre has maxinrum sensitivity in the blue-green spondi~ to 100 to 6400 lumen-seconds per portion of the visible spectrum. square foot (foot-candle-seconds). The Response Speed: For reliable results the extreme readable range is about 50 to flash shruld be V50,000 second (20 micro 12,800 lumen-seconds per square foot. seconds), or more, in duration. Attenuator Range: f/3.5 to f/22 corre Accessories Supplied: Tubes, batteries, sponding to a range of 1 to 64 on the pro diffusion disc, plug for flash synchronizing portional scale. circuit. Tubes: One RCA 1P39 and one RCA 1L4. Other Accessories Available: A probe for :Batteries: One Burgess 2F, three Burgess light measurements at the camera ground XX30E. glass is available at extra cost. Calibratioo.: Meter is standardized at the Mounting: Walnut cabinet with hinged factory in terms of a calibrated xenon cover. Base of cabinet carries a tripod flashtube operated from a known capaci socket. tor at a specified voltage. A diffusion Dimensions: (Width) 7 x (height) 6-1/2 disc and aperture is individually fitted x (length) 11 inches, over -all. -
Health Impacts of Fuel-‐Based Lighting
THE LUMINA PROJECT http://light.lbl.gov Technical Report #10 Health Impacts of Fuel-based Lighting Evan Mills, Ph.D. Lawrence Berkeley National Laboratory, University of California, 94720 USA October 16, 2012 Working Paper for presentation at the 3rd International Off-Grid Lighting Conference November 13-15, 2012, Dakar, Senegal Acknowledgment. This work was supported by the Assistant Secretary for Policy and International Affairs of the U.S. Department of Energy under Contract No. DE-AC02-05CH11231. Useful data and comments were provided by Peter Alstone, Kate Bliss, Kevin Gauna, Arne Jacobson, Dustin Poppendieck, David Schwebel, Laura Stachel, Dehran Swart, and Shane Thatcher. The Lumina Project—an initiative of the U.S. Department of Energy’s Lawrence Berkeley National Laboratory—provides industry, consumers, and policymakers with timely analysis and information on off- grid lighting solutions for the developing world. Lumina Project activities combine laboratory and field- based investigations to ensure the formation of policies and uptake of products that maximize consumer acceptance and energy savings. For more information, visit http://light.lbl.gov Executive Summary The challenges of sustainability often intertwine with those of public health, revealing opportunities in both arenas for disenfranchised populations. A fifth of the world’s population earns on the order of $1 per day and lacks access to grid electricity. They pay a far higher proportion of their income for illumination than those in wealthy countries, obtaining light with fuel-based sources, primarily kerosene lanterns. The same population experiences adverse health and safety risks from these lighting fuels. Beyond the well-known benefits of reducing lighting energy use, costs, and pollution (which has its own health consequences), off-grid electric light can yield substantial health and safety benefits and save lives.