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Physics in the Arts : Revised Edition
by Gilbert, P. U. P. A.; Haeberli, W.Edition:
Revised
ISBN13:
9780123918789
ISBN10:
0123918782
Format:
Paperback
Pub. Date:
7/13/2011
Publisher(s):
Academic Pr
List Price: $43.68
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Summary
A deep yet accessible analysis of the physics of light and sound, and how our eyes and ears detect them, is not only intellectually enjoyable, but also useful to understand and interpret the world in which we live, all the phenomena that take place around us, and how we perceive them. In short, how we interface with our planet, its inhabitants, and their creations. Understanding the physics of light and sound may also increase the appreciation for works of art and for art itself, and even stimulate the artists among the readers to deepen their knowledge of their media, of how people interface with them, and perhaps improve their art production. * Offers an alternative route to science literacy for those interested in the arts, music and photography * Popular science book with wide readership beyond the classroom at an accessible level * Material covered at a level appropriate for self-study or as a complementary textbook * Companion website for Instructors available in Spring 2008
Author Biography
Pupa Gilbert is a Professor of Physics at the University of Wisconsin-Madison and a surrealist painter. She is a physicist with passionate loves for biology and for modern art. She studied at the first University of Rome, worked as a staff scientist at the Italian National Research Council and at the eole Polytechnique F?d?rale de Lausanne until she joined the University of Wisconsin in 1999. Her current research focuses on biominerals, including mother-of-pearl, sea archin skeletons and the mechanisms leading to their formation. She pioneered the use of synchrotron spectromicroscopy in biology and medicine. She won "The Outstanding Young Persons (TOYP) of the World" award in 1997, and was knighted in 2000 for her contribution to the field of Biophysics. She leads a dynamic and diverse research group. She teaches "Physics in the Arts" and "Microscopy of Life", and in 2011 won the UW-Madison Distinguished Teaching Award. She lives in Madison and in Berkeley with her husband Ben. Willy Haeberli is a Professor of Physics and Steenbock Professor of Natural Sciences Emeritus at the University of Wisconsin-Madison, He was educated in Switzerland and received a Ph.D. in Nuclear Physics at the University of Basel. He taught at the University of Wisconsin for 50 years and was honored for his leaching of undergraduates not majoring in physical sciences and for his research. He received the Bonner Prize in Nuclear Physics, and the Alexander von Humboldt Senior Scientist Award. He was elected to the American Academy of Arts and Sciences in I988 and to the National Academy of Science in 2002. In collaboration with 40 Ph.D. students whose research he has guided, he developed new methods to produce spin-polarized beams and targets and used them to study interactions in nuclear and high-energy collisions.
Table of Contents
| Introduction | p. xi |
| Light and Sound | p. xi |
| Light and Light Waves | p. 01 |
| Speed of Light | p. 05 |
| Electromagnetic Spectrum | p. 06 |
| Polarization | p. 07 |
| Reflection and Refraction | p. 10 |
| Specular Reflection of Light | p. 10 |
| Refraction of Light | p. 14 |
| Total Internal Reflection | p. 17 |
| Reflection and Refraction in Diamonds | p. 21 |
| The Rainbow25 | |
| Questions | p. 27 |
| Lenses | p. 30 |
| The Prism | p. 30 |
| Converging and Diverging Lenses31 | |
| Focal Length | p. 33 |
| Images?Real and Virtual | p. 36 |
| Three Easy Rays | p. 39 |
| The Lens Formula | p. 41 |
| Note on Magnification | p. 45 |
| Lens Aberrations | p. 47 |
| Chromatic Aberrations | p. 48 |
| Spherical Aberration | p. 49 |
| Questions | p. 52 |
| The Eye | p. 56 |
| Accommodation | p. 58 |
| Eyeglasses | p. 60 |
| Nearsighted Eye | p. 61 |
| Farsighted Eye | p. 62 |
| Astigmatic Eye | p. 62 |
| Photography | p. 63 |
| The Camera | p. 63 |
| Focusing the Camera | p. 64 |
| p. 67 | |
| Choosing the Aperture | p. 68 |
| Depth of Field | p. 69 |
| Why the/Number? | p. 70 |
| The Film | p. 71 |
| Digital Photography | p. 75 |
| Putting it AH Together: Taking a Photograph | p. 76 |
| Questions | p. 80 |
| Color and Color Vision | p. 82 |
| Color | p. 82 |
| Color Sensitivity of the Eye | p. 84 |
| Physical and Psychological Color | p. 89 |
| Color: Hue, Saturation, and Brightness | p. 90 |
| Light Interaction with other Objects | p. 92 |
| Scattering or Diffuse Reflection | p. 92 |
| Questions | p. 98 |
| Additive Color Mixing | p. 99 |
| Primary Colors | p. 99 |
| Adding Primary Colors | p. 100 |
| The Color Triangle | p. 103 |
| Low-Brightness Colors | p. 107 |
| Spectral Colors | p. 107 |
| Non-Spectral Colors | p. 112 |
| Summary | p. 113 |
| Additive Color Mixing in Painting | p. 144 |
| Questions | p. 117 |
| Subtractive Color Mixing | p. 118 |
| Filters | p. 118 |
| Subtractive Primary Colors | p. 120 |
| Subtractive primaries | p. 122 |
| Color Photography | p. 124 |
| Pigments | p. 125 |
| Change in Saturation | p. 128 |
| Why Do Blue and Yellow Make Green? | p. 130 |
| Change in Hue | p. 131 |
| Questions | p. 134 |
| Color-Generating Mechanisms | p. 136 |
| Illuminating Light | p. 136 |
| Pigments | p. 136 |
| Structural Color: Iridescence | p. 137 |
| More Color-Generating Mechanisms Due to Iridescence | p. 139 |
| Color in Gemstones | p. 142 |
| Mineral Color Due to Charge Transfer | p. 144 |
| Mineral Color Due to Color Centers | p. 144 |
| Color in Gems Due to Band Gap Absorption of Light | p. 145 |
| Periodic Oscillations | p. 148 |
| Displacement Graph: Positions x Changes with Time t | p. 151 |
| The Period T and the Frequency f | p. 153 |
| Large and Small Numbers | p. 154 |
| Speed of Motio | p. 154 |
| Questions | p. 156 |
| Simple Harmonic Motion | p. 158 |
| The Spring Constant | p. 160 |
| Oscillation Frequency for Simple Harmonic Motion (SHM) | p. 161 |
| Wave Shape of Simple Harmonic Motion | p. 163 |
| Phase Angle | p. 165 |
| Questions | p. 166 |
| Damped Oscillations and Resonance | p. 168 |
| Damped Oscillations?The Concept of "Damping Time" | p. 168 |
| Resonance | p. 170 |
| Build-up and Decay of Musical Tones | p. 175 |
| Applications in Music | p. 175 |
| Resonators in Musical Instruments | p. 175 |
| Questions | p. 177 |
| Adding Sound Sources: Beats and Harmony | p. 179 |
| Principle of Superposition | p. 179 |
| Two Pure Tones of the Same Frequency | p. 180 |
| Beats | p. 182 |
| Harmony | p. 184 |
| For the Fun of It: Lissajous Figures | p. 185 |
| Questions | p. 188 |
| Sound waves | p. 190 |
| Propagation of a Pulse | p. 190 |
| Longitudinal and Transverse Waves | p. 192 |
| Sound Waves in Air Are Longitudinal Waves | p. 193 |
| Speed of Sound in Air | p. 195 |
| Wavelength and Frequency | p. 196 |
| Relevance to Size of Instruments or Loudspeakers | p. 197 |
| Sound Propagation | p. 198 |
| Interference of Sound Waves | p. 199 |
| Concert Hall Acoustics | p. 201 |
| Questions | p. 205 |
| Sound Perception: Pitch, Loudness, and Timbre | p. 206 |
| Ludness and Amplitude | p. 207 |
| Loudness and Frequency | p. 210 |
| Pitch Discrimination | p. 213 |
| The Ear | p. 214 |
| The Parts of the Ear | p. 214 |
| Place Theory of Pitch Perception | p. 216 |
| What Do the Auditory Nerves Tell the Brain? | p. 217 |
| Vibration of Strings | p. 220 |
| Single Modes | p. 220 |
| Higher Modes | p. 222 |
| Traveling Versus Standing Waves | p. 223 |
| The Voicing Formula225 | |
| How Do Modes Relate to Music? | p. 226 |
| Damping of Higher Partials | p. 227 |
| Plucked Strings: Missing Partials | p. 227 |
| Playing Harmonics | p. 228 |
| Real Strings Have Some Stiffness | p. 228 |
| Questions | p. 229 |
| Pipes | p. 231 |
| Pressure Pulse in a Pipe | p. 231 |
| Reflections in Open and Closed Pipes | p. 232 |
| Boundary Conditions | p. 233 |
| Standing Waves in Open Pipes | p. 233 |
| Fundamental Frequency of Open Pipe | p. 234 |
| Higher Modes of Open Pipe | p. 235 |
| Fundamental Frequency of Closed Pipe | p. 237 |
| Higher Modes of Closed Pipe | p. 238 |
| Playing Tunes on Wind Instruments: Fingerholes and Overblowing | p. 240 |
| Other Shapes | p. 240 |
| Acoustic Length | p. 241 |
| Questions | p. 241 |
| Fourier Analysis | p. 243 |
| The Fourier Theorem | p. 243 |
| Sound Spectrum | p. 244 |
| Fourier Analyzer (Sound Analyzer) | p. 249 |
| Fourier Synthesis | p. 251 |
| Why Can't We Synthesize a Stradivari? | p. 252 |
| Questions | p. 254 |
| Musical Scales | p. 256 |
| Musical Intervals | p. 257 |
| Consonance (Harmony): Simple Number Ratios | p. 257 |
| The Major Triad | p. 259 |
| Constructing a Scale: The Just Scale | p. 260 |
| Whole and Half Tone Intervals | p. 263 |
| Names of Intervals | p. 264 |
| Transposing: Why Black Keys? | p. 266 |
| Perfection Sacrificed: The Tempered Scale | p. 267 |
| Major and Minor Scales | p. 273 |
| The Natural Scale | p. 274 |
| Questions | p. 275 |
| Musical Instruments | p. 275 |
| Structure of Musical Instruments | p. 275 |
| Excitation Mechanism | p. 276 |
| Playing aTune | p. 278 |
| Questions | p. 283 |
| Solutions to Problems | p. 284 |
| Index | p. 307 |
| Table of Contents provided by Ingram. All Rights Reserved. |
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