1000 resultados para Book collectors


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"Of this book four hundred copies have been printed, of which this is no. 155."

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Vol 4 contains: Synopsis of contents of and general index to vols. I-IV.

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Mode of access: Internet.

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Taking into consideration of growing energy needs and concern for environmental degradation, clean and inexhaustible energy source, such as solar energy, is receiving greater attention for various applications. The use of solar energy system reduces pollution, waste and has little or no harmful effects on the environment. It is appreciated that this source of energy can be complementary rather than being competitive to conventional energy sources. In order to collect and harness energy from the sun, a solar collector is essential. A solar collector is basically a heat exchanger that transforms solar radiant energy into heat or thermal energy. Improvement of performance is essential for commercial acceptance of their use in such applications. Many studies have been undertaken on the enhancement of thermal performance of solar collectors, using diverse materials of various shapes, dimensions and layouts. In the literature, various collector designs have been proposed and tested with the objective of meeting these requirements [1-8]. Omer et al. [1] found the efficiency of a solar collector of about 70% in a solar assisted heat pump system. Traditional solar collectors are single phase collectors, in which the working fluid is either air or water. Different modifications are suggested and applied to improve the heat transfer between the absorber and working fluid in a collector. These modifications include the use of absorber with fins attached [2,3], corrugated absorber [4,5], matrix type absorber [6], V-groove solar air collector [7]. Karim et al. [8] approached a review of design and construction of three types (flat, vee-grooved, and finned) of air collectors. Two-phase collectors, on the other hand, have significant potential for continuous operation round the clock, when used in conjunction with a compressor, as found in a solar assisted heat-pump cycle.

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Survey map of the Second Welland Canal created by the Welland Canal Company showing the areas in and around Port Colborne and Grantham Township. Identified structures associated with the Canal include Basin, Guard Lock, Two Lock Tender Houses, Lock House Lot, Collectors Office House, Towing Path, North and South Back Ditches, and land reserved for future improvemnt of basin. Surveyor measurements and notes can be seen in red and black ink as well as pencil. Local area landmarks dentified include Bridge, Rail Road Swing Bridge, Spoil Bank, Water Tank, Frazer Street Railway Station, Buffalo and Lake Huron Rail Road, Welland Rail Road, and land reserved for "Gardens for Lock Tenders". Local businesses identified include A.K Scholfield Store House Lot and Wharf, two stores and a tavern. Roads running parallel to Canal include King St., "present Travel Road", and the Southern Road Allowance. Roads running perpendicular to Canal include Kent St., Charlotte St., Clarence St., Princess St., Elgin St., George St., Frazer St., Alma St., Eastern Road Allowance. Properties and property owners are also identified and include P. White, John Flynn, George McMicking, Charles Carter, William H. Merritt, A.K. Scholfield, F. Gallgher, Ed McCabe, M. Smith, E. Lawder, J. Hanley, J. Harris, P. Gibbons, M. McGoveran, M. Madden, J. Hardison, T. Nihan, D. Gibbons, J. Cross, William Mellanby, Elis Gordon, Jane McCardy, L.G. Carter, T. Greenwood, C. Armstrong, J. McGillivray, T. Schofield, Mrs. Lanue, D. Mc_______, K. Minor, J. Manly and John McRae.

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Between 1972 and 2001, the English late-modernist poet Roy Fisher provided the text for nine separate artist's books produced by Ron King at the Circle Press. Taken together, as Andrew Lambirth has written, the Fisher-King collaborations represent a sustained investigation of the various ways in which text and image can be integrated, breaking the mould of the codex or folio edition, and turning the book into a sculptural object. From the three-dimensional pop-up designs of Bluebeard's Castle (1973), each representing a part of the edifice (the portcullis, the armoury and so on), to ‘alphabet books’ such as The Half-Year Letters (1983), held in an ingenious french-folded concertina which can be stretched to over a metre long or compacted to a pocketbook, the project of these art books is to complicate their own bibliographic codes, and rethink what a book can be. Their folds and reduplications give a material form to the processes by which meanings are produced: from the discovery, in Top Down, Bottom Up (1990), of how to draw on both sides of the page at the same time, to the developments of The Left-Handed Punch (1987) and Anansi Company (1992), where the book becomes first a four-dimensional theatre space, in which a new version of Punch and Judy is played out by twelve articulated puppets, and then a location for characters that are self-contained and removable, in the form of thirteen hand-made wire and card rod-puppets. Finally, in Tabernacle (2001), a seven-drawer black wooden cabinet that stands foursquare like a sculpture (and sells to galleries and collectors for over three thousand pounds), the conception of the book and the material history of print are fully undone and reconstituted. This paper analyses how the King-Fisher art books work out their radically material poetics of the book; how their emphasis on collaboration, between artist and poet, image and text, and also book and reader – the construction of meaning becoming a co-implicated process – continuously challenges hierarchies and fixities in our conception of authorship; and how they re-think the status of poetic text and the construction of the book as material object.

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This is a book about solar collectors and the place of these artefacts in a political energy debate that has aroused strong feelings in Sweden during the last twenty-five years. It is a book about the hopes for a less polluted earth, which solar collectors have come to symbolise, and a book about the ways in which problems in utilising solar energy are culturally perceived. One main aims of this study has been to find out more about the conflicting perceptions of solar collectors as 'saviours of the world' and simultaneously as uninteresting or less credible artefacts that 'may come in the future'. Another main purpose of the study has been to describe and explain those cultural processes of modification that are taking place around solar collectors in active attempts to integrate these into established cultural structures.

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Reduction of household energy consumption is one of the top issues in contemporary discussions on sustainable consumption. This chapter concerns one way through which consumption of purchased energy for house heating can be reduced; by having a solar thermal system added to one's house. However, the fact that one of the components - the solar collector - usually is situated on the roof or the facade of a building, is a recurrent impediment to such installations. In certain contexts, these attributes may melt into the building, while in others, they may be perceived as problematic. The latter may particularly be the case when the appearance of the building is of major imiportance, as with houses deemed worthy of preservation for coming generations. This chapter draws upon a study carried out in Visby Town, a walled Hanseatic town and a World Heritage site on the island of Gotland, Sweden.

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Title from cover.

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Subtitle varies. v. 8-12 have title: The Collector: an historical magazine for autograph and book plate collectors.