The air pollution caused by the burning of fireworks during the lantern festival in Beijing

IEECAS SKLLQG

Lighting recommendations for the Ryan Electric Scintillator and Fireworks Program for the official dedication Niagara Falls illumination, 1925

Walter D’Arcy Ryan was born in 1870 in Kentville, Nova Scotia. He became the chief of the department of illumination at the General Electric Company of Schenectady, New York. He was a founder in the field of electrical illumination. He built the electric steam scintillator which had numerous nozzles and valves. The operator would release steam through the valves. The nozzles all had names which included: Niagara, fan, snake, plume, column, pinwheel and sunburst. The steam scintillator was combined with projectors, prismatic reflectors, flashers and filters to produce the desired effects. In 1920 a group of businessmen from Niagara Falls, New York formed a group who called themselves the “generators’. They lobbied the American and Canadian governments to improve the illumination of the Falls. They were able to raise $58, 000 for the purchase and installation of 24 arc lights to illuminate the Falls. On February 24th, 1925 the Niagara Falls Illumination Board was formed. Initially, the board had a budget of $28,000 for management, operation and maintenance of the lights. The power was supplied free by the Ontario Power Company. They had 24 lights installed in a row on the Ontario Power Company surge tank which was next to the Refectory in Victoria Park on the Canadian side. The official opening ceremony took place on June 8th, 1925 and included a light parade in Niagara Falls, New York and an international ceremony held in the middle of the Upper Steel Arch Bridge. Walter D’Arcy Ryan was the illuminating engineer and A.D. Dickerson who was his New York field assistant directed the scintillator. with information from American Technological Sublime by David E. Nye and the Niagara Falls info website Location: Brock University Archives Source Information: Subject Headings: Added Entries: 100 Ryan, W. D’A. |q (Walter D’Arcy), |d 1870-1934 610 General Electric Company 650 Lighting, Architectural and decorative 650 Lighting |z New York (State) |z Niagara Falls 700 Dickerson, A.F. 700 Schaffer, J.W. Related material held at other repositories: The Niagara Falls Museum in Niagara Falls, Ontario has a program (pamphlet) dedicating new lighting in 1958 and it has postcards depicting the illumination of the Falls. Some of Ryan’s accomplishments can be seen at The Virtual Museum of the City of San Francisco. Described by: Anne Adams Date: Sept 26,Upper Steel Arch Bridge. Walter D’Arcy Ryan was the illuminating engineer and A.D. Dickerson who was his New York field assistant directed the scintillator. with information from American Technological Sublime by David E. Nye and the Niagara Falls info website

Artificial fireworks improved to the modern practice from the minutest to the highest branches ... : with all their ingredients, compositions, preparations, machines, moulds and manner to make them : with about 100 of the principal figures beautifully engraved on copper plates /

M. Belidor's New Method of mining. To which is added, M. Vallier's Dissertation on countermines.

An Address to the Worshipful Company of Barbers in Oxford : occasioned by a late infamous libel intitled, The barber and fireworks, a fable, highly reflecting on one of the honorable members /

Photocopy. St. Peter Port, Guernsey, Channel Is. : Toucan Press, 1977. 25 cm.

Fireworks FACTS

This brochure gives information about fireworks in South Carolina and answers such questions as how do fireworks dealers get licenses, what types of fireworks are banned in South Carolina, is it legal to buy, sell and use fireworks in South Carolina, who manufactures the fireworks sold in South Carolina, how are consumers protected from unsafe and/or illegal fireworks, and how to choose safe fireworks.

Relics

Relics is a single-channel video derived from a 3D computer animation that combines a range of media including photography, drawing, painting, and pre-shot video. It is constructed around a series of pictorial stills which become interlinked by the more traditionally filmic processes of panning, zooming and crane shots. In keeping with these ideas, the work revolves around a series of static architectural forms within the strangely menacing enclosure of a geodesic dome. These clinical aspects of the work are complemented by a series of elements that evoke fluidity : fireworks, mirrored biomorphic forms and oscillating projections. The visual dimension of the work is complemented by a soundtrack of rainforest bird calls. Through its ambiguous combination of recorded and virtual imagery, Relics explores the indeterminate boundaries between real and virtual space. On the one hand, it represents actual events and spaces drawn from the artist studio and image archive; on the other it represents the highly idealised spaces of drawing and 3D animation. In this work the disembodied wandering virtual eye is met with an uncanny combination of scenes, where scale and the relationships between objects are disrupted and changed. Through this simultaneity between the real and the virtual, the work conveys a disembodied sense of space and time that carries a powerful sense of affect. Relics was among the first international examples of 3D animation technology in contemporary art. It was originally exhibited in the artist’s solo show, ‘Places That Don’t Exist’ (2007, George Petelin Gallery, Gold Coast) and went on to be included in the group shows ‘d/Art 07/Screen: The Post Cinema Experience’ (2007, Chauvel Cinema, Sydney) , ‘Experimenta Utopia Now: International Biennial of Media Art’ (2010, Arts Centre, Melbourne and national touring venues) and ‘Move on Asia’ (2009, Alternative space Loop, Seoul and Para-site Art Space, Hong Kong) and was broadcast on Souvenirs from Earth (Video Art Cable Channel, Germany and France). The work was analysed in catalogue texts for ‘Places That Don’t Exist’ (2007), ‘d/Art 07’ (2007) and ‘Experimenta Utopia Now’ (2010) and the’ Souvenirs from Earth’ website.

Bang

In this video, a male voice performs a script combining stories sourced from an anonymous confessions website. On screen, imagery of fireworks repeats into increasingly kaleidoscopic patterns. This work engages with the relationship between screen culture and contemporary subjectivity. It contrasts private confessions with the public spectacle of fireworks to question the ways screen cultures are informing constructions of subjectivity. By extending on some of Nicolas Bourriaud’s ideas around ‘postproduction’ and the creative and critical strategies of ‘editing’, it offers a speculative understanding of the contemporary tension between public and private.

Monitoring bioaccumulation and toxic effects of hexachlorobenzene using the polyurethane foam unit method in the microbial communities of the Fuhe River, Wuhan

Hexachlorobenzene (HCB) is a chlorinated aromatic hydrocarbon that was widely used for seed dressing in prevention of fungal growth on crops, and also as a component of fireworks, ammunition, and synthetic rubbers. Because of its resistance to degradation and mobility, HCB is widely distributed throughout the environment and is accumulated through food chains in different ecosystems. In this study, a preliminary investigation was carried out on the bioaccumulation and the toxic effects of HCB in the microbial (protozoan in particular) communities in the Fuhe River, Wuhan, a water body receiving industrial wastewaters containing HCB and other pollutants, using the standardized polyurethane foam units (PFU) method. Field samples were taken from eight stations established along the Fuhe River in January and August 2006. The concentration ratios of HCB in microbial communities and in water were 9.66-18.64, and the microbial communities accumulated 13.29-56.88 mu g/L of HCB in January and 0.82-10.25 mu g/L HCB in August. Correlation analysis showed a negative correlation between the HCB contents in the microbial assemblage, and the number of species and the diversity index of the protozoan communities. This study demonstrated the applicability of the PFU method in monitoring the effects of HCB on the level of microbial communities.

William Hand Manufacturer of Fire-works, Pyrotechnic Artist Advertisement

An advertisement addressed to the "celebration committees" for May 24th and July 1st. William Hand details his services for fireworks and other lighting. Price ranges are included and reviews/comments quoted from several newspapers.

Montebello Gardens - First Grand Fete and Gala! Poster

Poster with details for the first grand fete and gala taking place Monday May 25, 1874. Festivities include: fireworks, "grand flight of a fiery pigeon", dancing, music, balloon and more.

Spectacle and the one-man band : technology, performing bodies, and imaginary spaces

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique.

Insights into the dynamics and sources of atmospheric lead and particulate matter in Sao Paulo, Brazil, from high temporal resolution sampling

We present the first results of a study investigating the processes that control concentrations and sources of Pb and particulate matter in the atmosphere of Sao Paulo City Brazil Aerosols were collected with high temporal resolution (3 hours) during a four-day period in July 2005 The highest Pb concentrations measured coincided with large fireworks during celebration events and associated to high traffic occurrence Our high-resolution data highlights the impact that a singular transient event can have on air quality even in a megacity Under meteorological conditions non-conducive to pollutant dispersion Pb and particulate matter concentrations accumulated during the night leading to the highest concentrations in aerosols collected early in the morning of the following day The stable isotopes of Pb suggest that emissions from traffic remain an Important source of Pb in Sao Paulo City due to the large traffic fleet despite low Pb concentrations in fuels (C) 2010 Elsevier BV All rights reserved

Resolução do problema de fluxo de potência ótimo pela meta-heurística algoritmo dos fogos de artifício de busca dinâmica com mutação de covariância

Pós-graduação em Engenharia Elétrica - FEIS