From Leonardo to Oppenheimer, from candles to lasers, from cave drawings to cinema, from Stonehenge to quantum mechanics, from Genesis to the Big Bang, light has filled our thoughts, our way of life, our aesthetics, our technology, and our means for survival. Richard Weiss leads us along these paths over the past 500 light years. The way is lit by pioneers such as Rembrandt, Einstein, D W Griffith, Newton, and Heisenberg." A Brief History Of Light, And Those That Lit The Way" is a summer''s day roller-coaster ride through five centuries of man''s achievements in understanding and manipulating light. Readership: General.
2003 Paul Bunge Prize of the Hans R. Jenemann Foundation for the History of Scientific Instruments Judging the brightness and color of light has long been contentious. Alternately described as impossible and routine, it was beset by problems both technical and social. How trustworthy could such measurements be? Was the best standard of inten
In Empire of Light, Sidney Perkowitz combines the expertise of a physicist with the vision of an art connoisseur and the skill of an accomplished writer to offer a unique view of the most fundamental feature of the universe: light. Empire of Light discusses the nature of light, how the eye sees, and how our understanding of these phenomena have emerged over the ages, including the role of light in the development of quantum physics. The author examines the making of electrical light and its integration into commerce, telecommunications, entertainment, medicine, warfare, and every other aspect of our daily lives. And he presents the role of light in the search for the beginning and the end of the universe, as astronomers with their instruments penetrate ever deeper into the sky. Visible light spans the spectrum between infrared and ultraviolet, but this book reaches across many other spectra as well--from the cave paintings at Lascaux to Mark Rothko's stark blocks of color in today's art museums, from Plato's speculation that the eye sends out rays to Ramon y Cajal's discovery that vision actually works in the opposite way, from Tycho Brahe's elegant antetelescope measurements of planet positions to the Hubble telescope's exquisite sensitivity to light from billions of light years away. What are the biological and neurological processes of perceiving visible light? How does a person typically scan a scene? Do you see red or blue the same way I do? What are our physiological reactions and emotional responses to light? Perkowitz explores these and many other fascinating questions, drawing together the experiences, achievements, and perspectives of a diverse cast of characters, including Galileo, Einstein, Newton, Van Gogh, and Edison. Empire of Light is written so that lay readers will readily grasp the scientific principles and science professionals will readily appreciate the human experience. It will impart new wonder to the daily experience of light in our world. Sidney Perkowitz is the Charles Howard Candler Professor of Physics at Emory University. His work has appeared in national publications such as The Sciences, The Washington Post, The Los Angeles Times, The American Prospect, and Technology Review.
Light and light based technologies have played an important role in transforming our lives via scientific contributions spanned over thousands of years. In this book we present a vast collection of articles on various aspects of light and its applications in the contemporary world at a popular or semi-popular level. These articles are written by the world authorities in their respective fields. This is therefore a rare volume where the world experts have come together to present the developments in this most important field of science in an almost pedagogical manner. This volume covers five aspects related to light. The first presents two articles, one on the history of the nature of light, and the other on the scientific achievements of Ibn-Haitham (Alhazen), who is broadly considered the father of modern optics. These are then followed by an article on ultrafast phenomena and the invisible world. The third part includes papers on specific sources of light, the discoveries of which have revolutionized optical technologies in our lifetime. They discuss the nature and the characteristics of lasers, Solid-state lighting based on the Light Emitting Diode (LED) technology, and finally modern electron optics and its relationship to the Muslim golden age in science. The book’s fourth part discusses various applications of optics and light in today's world, including biophotonics, art, optical communication, nanotechnology, the eye as an optical instrument, remote sensing, and optics in medicine. In turn, the last part focuses on quantum optics, a modern field that grew out of the interaction of light and matter. Topics addressed include atom optics, slow, stored and stationary light, optical tests of the foundation of physics, quantum mechanical properties of light fields carrying orbital angular momentum, quantum communication, and Wave-Particle dualism in action.
Without neon, Las Vegas might still be a sleepy desert town in Nevada and Times Square merely another busy intersection in New York City. Transformed by the installation of these brightly colored signs, these destinations are now world-famous, representing the vibrant heart of popular culture. But for some, neon lighting represents the worst of commercialism. Energized by the conflicting love and hatred people have for neon, Flickering Light explores its technological and intellectual history, from the discovery of the noble gas in late nineteenth-century London to its fading popularity today. Christoph Ribbat follows writers, artists, and musicians—from cultural critic Theodor Adorno, British rock band the Verve, and artist Tracey Emin to Vladimir Nabokov, Langston Hughes, and American country singers—through the neon cities in Europe, America, and Asia, demonstrating how they turned these blinking lights and letters into metaphors of the modern era. He examines how gifted craftsmen carefully sculpted neon advertisements, introducing elegance to modern metropolises during neon’s heyday between the wars followed by its subsequent popularity in Las Vegas during the 1950s and '60s. Ribbat ends with a melancholy discussion of neon’s decline, describing how these glowing signs and installations came to be seen as dated and characteristic of run-down neighborhoods. From elaborate neon lighting displays to neglected diner signs with unlit letters, Flickering Light tells the engrossing story of how a glowing tube of gas took over the world—and faded almost as quickly as it arrived.
The controversy between the wave theory and the emission theory of light early in the nineteenth century has been a subject of numerous studies. Yet many is sues remain unclear, in particular, the reasons for rejecting Young's theory of light. It appears that further progress in the field requires a better grasp of the overall situation in optics and related subjects at the time and a more thorough study of every factor suggested to be of importance for the dispute. This book is intended to be a step in this direction. It examines the impact of the concept of interference of light on the development of the early nineteenth century optics in general, and the theory of light, in particular. This is not a his tory of the wave theory of light, nor is it a history of the debate on the nature of light in general: it covers only that part of the controversy which involved the concept of interference. Although the book deals with a number of scientists, scientific institutions, and journals, its main character is a scientific concept, the principle of interference. While discussing the reasons for accepting or rejecting this concept I have primarily focused on scientific factors, although in some cases the human factor is examined as well. The book is a revised Ph. D. dissertation (University of Minnesota, 1984) writ ten under Alan E. Shapiro.
How electric light created new spaces that transformed the built environment and the perception of modern architecture. In this book, Sandy Isenstadt examines electric light as a form of architecture—as a new, uniquely modern kind of building material. Electric light was more than just a novel way of brightening a room or illuminating a streetscape; it brought with it new ways of perceiving and experiencing space itself. If modernity can be characterized by rapid, incessant change, and modernism as the creative response to such change, Isenstadt argues, then electricity—instantaneous, malleable, ubiquitous, evanescent—is modernity's medium. Isenstadt shows how the introduction of electric lighting at the end of the nineteenth century created new architectural spaces that altered and sometimes eclipsed previously existing spaces. He constructs an architectural history of these new spaces through five examples, ranging from the tangible miracle of the light switch to the immaterial and borderless gloom of the wartime blackout. He describes what it means when an ordinary person can play God by flipping a switch; when the roving cone of automobile headlights places driver and passenger at the vertex of a luminous cavity; when lighting in factories is seen to enhance productivity; when Times Square became an emblem of illuminated commercial speech; and when the absence of electric light in a blackout produced a new type of space. In this book, the first sustained examination of the spatial effects of electric lighting, Isenstadt reconceives modernism in architecture to account for the new perceptual conditions and visual habits that followed widespread electrification.
The myth of light and progress has blinded us. In our electric world, we are everywhere surrounded by effortlessly glowing lights that simply exist, as they should, seemingly clear and comforting proof that human genius means the present will always be better than the past, and the future better still. At best, this is half the story. At worst, it is a lie. From whale oil to kerosene, from the colonial period to the end of the U.S. Civil War, modern, industrial lights brought wonderful improvements and incredible wealth to some. But for most workers, free and unfree, human and nonhuman, these lights were catastrophes. This book tells their stories. The surprisingly violent struggle to produce, control, and consume the changing means of illumination over the eighteenth and nineteenth centuries transformed slavery, industrial capitalism, and urban families in profound, often hidden ways. Only by taking the lives of whalers and enslaved turpentine makers, match-manufacturing children and coal miners, night-working seamstresses and the streetlamp-lit poor—those American lucifers—as seriously as those of inventors and businessmen can the full significance of the revolution of artificial light be understood.
Here Eduardo Cadava demonstrates that Walter Benjamin articulates his conception of history through the language of photography. Focusing on Benjamin's discussions of the flashes and images of history, he argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of his writings: the historical and political consequences of technology, the relation between reproduction and mimesis, images and history, remembering and forgetting, allegory and mourning, and visual and linguistic representation. The book establishes the photographic constellation of motifs and themes around which Benjamin organizes his texts and thereby becomes a lens through which we can begin to view his analysis of the convergence between the new technological media and a revolutionary concept of historical action and understanding. Written in the form of theses--what Cadava calls "snapshots in prose"--the book memorializes Benjamin's own thetic method of writing. It enacts a mode of conceiving history that is neither linear nor successive, but rather discontinuous--constructed from what Benjamin calls "dialectical images." In this way, it not only suggests the essential rapport between the fragmentary form of Benjamin's writing and his effort to write a history of modernity but it also skillfully clarifies the relation between Benjamin and his contemporaries, the relation between fascism and aesthetic ideology. It gives us the most complete picture to date of Benjamin's reflections on history.
