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E-grāmata: Physics in the Arts

(University of Wisconsin-Madison, USA)
  • Formāts: PDF+DRM
  • Izdošanas datums: 16-Jan-2021
  • Izdevniecība: Academic Press Inc
  • Valoda: eng
  • ISBN-13: 9780128243480
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Physics in the ArtsPalielināt
  • Formāts: PDF+DRM
  • Izdošanas datums: 16-Jan-2021
  • Izdevniecība: Academic Press Inc
  • Valoda: eng
  • ISBN-13: 9780128243480
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Physics in the Arts, Third Edition gives science enthusiasts and liberal arts students an engaging, accessible exploration of physical phenomena, particularly with regard to sound and light. This book offers an alternative route to science literacy for those interested in the arts, music and photography. Suitable for a typical course on sound and light for non-science majors, Gilbert and Haeberli’s trusted text covers the nature of sound and sound perception as well as important concepts and topics such as light and light waves, reflection and refraction, lenses, the eye and the ear, photography, color and color vision, and additive and subtractive color mixing.

Additional sections cover color generating mechanisms, periodic oscillations, simple harmonic motion, damped oscillations and resonance, vibration of strings, Fourier analysis, musical scales and musical instruments.

  • Offers an alternative route to science literacy for those interested in the visual arts, music and photography
  • Includes a new and unique quantitative encoding approach to color vision, additive and subtractive color mixing, a section on a simplified approach to quantitative digital photography, how the ear-brain system works as a Fourier analyzer, and updated and expanded exercises and solutions
  • Provides updated online instructor resources, including labs, chapter image banks, practice problems and solutions
Introduction xi
Acknowledgments xiv
Chapter 1 Light and light waves
1(14)
1.1 Dual nature of light
2(2)
1.2 Speed of light
4(2)
1.3 Electromagnetic spectrum
6(2)
1.4 Polarization
8(2)
1.5 Polarizers
10(3)
1.6 Large and small numbers
13(2)
Chapter 2 Reflection and refraction
15(28)
2.1 Specular reflection of light
16(3)
2.2 Refraction of light
19(3)
2.3 Total internal reflection
22(3)
2.4 Due to refraction, things are not where they appear
25(1)
2.5 Reflection and refraction in diamonds
26(6)
2.6 Rainbows
32(5)
2.7 Interesting brightening and darkening effects
37(3)
2.8 Questions
40(3)
Chapter 3 Lenses
43(26)
3.1 Refraction by a prism
44(1)
3.2 Converging and diverging lenses
44(1)
3.3 Focal length
45(3)
3.4 Real and virtual images
48(2)
3.5 Three easy rays
50(2)
3.6 The thin lens formula
52(4)
3.6.1 Object distance greater than focal length
53(1)
3.6.2 Place the object 50 cm away from the lens
54(1)
3.6.3 Object distance smaller than the focal length
55(1)
3.6.4 Diverging lens
55(1)
3.7 More on converging and diverging lenses
56(2)
3.8 Lens aberrations
58(4)
3.8.1 Chromatic aberrations
59(1)
3.8.2 Spherical aberration
60(1)
3.8.3 Distortions
61(1)
3.8.4 Coated lenses
62(1)
3.9 Lenses in art
62(3)
3.10 Questions
65(4)
Chapter 4 The human eye
69(8)
4.1 Components of the human eye
70(1)
4.2 Accommodation
71(1)
4.3 Eyeglasses
72(1)
4.4 Nearsighted eye
73(1)
4.5 Farsighted eye
74(1)
4.6 Astigmatic eye
74(1)
4.7 Presbyopia and multifocal lenses
75(1)
4.8 Contact lenses and eye surgery
75(2)
Chapter 5 Photography
77(24)
5.1 The camera
78(1)
5.2 Focusing the camera
79(1)
5.3 Taking a photo: exposure time, f number, and ISO
79(2)
5.4 Shutters
81(1)
5.4.1 Leaf shutter
81(1)
5.4.2 Focal plane shutter
81(1)
5.4.3 Digital shutter
82(1)
5.5 Exposure time of shutter speed
82(1)
5.6 Aperture and f number
83(5)
5.7 The sensor and its ISO
88(1)
5.8 Putting it all together: taking a photograph
88(2)
5.9 Fun photographic facts
90(8)
5.9.1 Rolling shutters
90(3)
5.9.2 Long and short exposure times
93(3)
5.9.3 Zoom, wide-angle, and fisheye lenses
96(1)
5.9.4 Expensive and inexpensive digital cameras
97(1)
5.10 Questions
98(3)
Chapter 6 Color and color vision
101(26)
6.1 Physical and perceived color
102(1)
6.2 Sensitivity curves of cones
102(5)
6.3 Complementary colors
107(1)
6.4 Mixed and spectral colors
108(1)
6.5 Definition of color: hue, saturation, brightness
108(2)
6.6 The perceived brightness depends on the surroundings
110(2)
6.7 All colors in the spectrum simplified to RGB
112(1)
6.8 Why is the sky blue, the sunset red, and a lemon yellow?
113(4)
6.9 Color blindness
117(3)
6.10 Color seen by other animals
120(2)
6.11 Color adaptations
122(3)
6.12 Questions
125(2)
Chapter 7 Additive color mixing
127(20)
7.1 Mixing lights
128(1)
7.2 Primary colors
128(2)
7.3 Adding primary colors
130(2)
7.4 The color triangle
132(5)
7.5 Low-brightness colors
137(1)
7.6 Spectral colors
138(1)
7.7 Nonspectral colors
139(1)
7.8 Complementary colors on the color triangle
140(1)
7.9 Additive color mixing in painting
141(5)
7.10 Questions
146(1)
Chapter 8 Subtractive color mixing
147(22)
8.1 Spectra
148(1)
8.2 Filters and transmission
149(3)
8.3 Paints and scattering
152(1)
8.4 Subtractive primary colors
153(1)
8.5 Blue and yellow may or may not make green
154(4)
8.6 Multiple scattering
158(1)
8.7 Spectra, computers, and the color triangle
158(2)
8.8 Change in hue
160(3)
8.9 Mixing unequal amounts of paint
163(1)
8.10 Using a computer to mix paints to obtain any color you wish
163(1)
8.11 Celestial sleuthing
163(3)
8.12 Questions
166(3)
Chapter 9 Color-generating mechanisms
169(18)
9.1 Illuminating light
170(1)
9.2 Pigments in animals and plants
170(1)
9.3 Structural color in animals: iridescence
171(2)
9.4 More iridescent color-generating mechanisms
173(7)
9.5 Color in gemstones
180(1)
9.6 Mineral color due to charge transfer
181(1)
9.7 Mineral color due to color centers
182(1)
9.8 Color in gems due to band gap absorption of light
183(4)
Chapter 10 Sound waves
187(16)
10.1 Mechanical waves
188(1)
10.2 Propagation of a pulse
189(1)
10.3 Longitudinal and transverse waves
190(1)
10.4 Sound waves in air are longitudinal waves
191(2)
10.5 Frequency
193(1)
10.6 Speed of sound in air
194(1)
10.7 Wavelength and frequency
194(1)
10.8 Relevance to the size of instruments and loudspeakers
195(1)
10.9 Sound propagation
195(2)
10.10 Concert Hall acoustics
197(3)
10.11 Questions
200(3)
Chapter 11 Simple harmonic motion
203(14)
11.1 Definition of simple harmonic motion
204(1)
11.2 Various simple harmonic oscillators
205(1)
11.3 Hooke' slaw
205(1)
11.4 Pendulum
205(2)
11.5 Mass on a spring
207(2)
11.6 Frequency of oscillation
209(1)
11.7 Anharmonic oscillators
209(1)
11.8 Waveform of simple harmonic oscillators
210(4)
11.9 Phase angle
214(1)
11.10 Other nonsimple, harmonic oscillators
214(1)
11.11 Questions
215(2)
Chapter 12 Damping and resonance
217(12)
12.1 Damped oscillations, damping time
218(1)
12.2 Resonance
218(7)
12.3 Build-up and decay of musical notes
225(1)
12.4 Resonators in musical instruments and speakers
225(1)
12.5 Questions
226(3)
Chapter 13 Vibration of strings
229(16)
13.1 Pulse on a string
230(1)
13.2 The first, fundamental mode
231(3)
13.3 Higher modes
234(3)
13.4 Traveling versus standing waves
237(1)
13.5 The voicing formula
238(1)
13.6 How modes relate to music: partials
239(2)
13.7 Damping of higher partials
241(1)
13.8 Plucked strings: missing partials
241(1)
13.9 Playing harmonics
242(1)
13.10 Real strings are stiff
243(1)
13.11 Guitar, violin, harp, and piano strings
243(1)
13.12 Questions
244(1)
Chapter 14 Waves in pipes
245(12)
14.1 Pressure pulse in a pipe
246(1)
14.2 Open and closed pipes, boundary conditions
247(1)
14.3 Acoustic length
248(1)
14.4 Standing waves in open pipes
248(2)
14.5 Fundamental frequency of open pipe
250(1)
14.6 Higher modes of open pipe
251(1)
14.7 Fundamental frequency of closed pipe
251(1)
14.8 Higher modes of closed pipe
252(2)
14.9 Playing tunes on wind instruments: fingerholes and overblowing
254(1)
14.10 Other shapes
255(1)
14.11 Questions
255(2)
Chapter 15 Superposition, beats, and harmony
257(14)
15.1 Superposition of sound waves, phase, interference
258(1)
15.2 Principle of superposition
259(2)
15.3 Two pure tones of the same frequency, phase shift as an angle
261(1)
15.4 Beats
262(2)
15.5 Harmony
264(1)
15.6 Phase changes the waveform, not the sound
265(1)
15.7 Just for fun: lissajous figures
266(3)
15.8 Questions
269(2)
Chapter 16 Musical scales
271(14)
16.1 The need for musical scales
272(1)
16.2 Musical intervals
272(1)
16.3 Harmony and small number ratios
273(1)
16.4 The major triad
274(1)
16.5 Constructing the just scale
275(2)
16.6 Names of intervals
277(1)
16.7 Whole-tone and semitone intervals
278(1)
16.8 Transposing: why black keys?
279(1)
16.9 The problems with the just scale
279(1)
16.10 Perfection sacrificed: the tempered scale
280(2)
16.11 Major and minor scales
282(1)
16.12 The natural scale
283(1)
16.13 Questions
284(1)
Chapter 17 Fourier analysis
285(14)
17.1 Fourier's theorem
286(1)
17.2 Fourier spectra
287(4)
17.3 Fourier analyzer
291(2)
17.4 Fourier synthesis
293(4)
17.5 Why can't you synthesize a Stradivari?
297(1)
17.6 Questions
297(2)
Chapter 18 Musical instruments
299(12)
18.1 The structure of musical instruments
300(2)
18.2 Excitation mechanism
302(2)
18.3 Playing a tune
304(1)
18.4 Strings
304(3)
18.5 Woodwinds
307(1)
18.6 Brass instruments
308(1)
18.7 Percussion instruments
309(1)
18.8 Voice
309(1)
18.9 Questions
310(1)
Chapter 19 Sound perception: timbre, loudness, and pitch
311(10)
19.1 Timbre and Fourier spectrum
312(1)
19.2 Loudness, amplitude, volume, sound intensity level, and decibels
313(3)
19.3 Loudness also depends on frequency
316(2)
19.4 Pitch and frequency
318(3)
Chapter 20 The ear
321(10)
20.1 The outer ear
322(1)
20.2 The middle ear
323(1)
20.3 The inner ear
324(3)
20.4 Amplitude and loudness
327(1)
20.5 Frequency, period, and sequence of nerve pulses sent to the brain
328(3)
Chapter 21 Solutions to all questions
331(36)
Chapter 2
331(6)
Chapter 3
337(3)
Chapter 5
340(2)
Chapter 6
342(1)
Chapter 7
343(2)
Chapter 8
345(6)
Chapter 10
351(1)
Chapter 11
352(3)
Chapter 12
355(1)
Chapter 13
355(3)
Chapter 14
358(2)
Chapter 15
360(1)
Chapter 16
361(2)
Chapter 17
363(4)
Chapter 18
364
Chapter 22 Formulae, constants, and useful physical data
367(12)
22.1 Light
367(5)
22.2 Sound
372(7)
Index 379
Pupa Gilbert is a Vilas Distinguished Achievement Professor of Physics at the University of Wisconsin Madison and an amateur surrealist painter. She is a physicist with passionate loves for biology, geoscience, and modern art. She studied at the Sapienza University of Rome, worked as a staff scientist at the Italian National Research Council and at the École Polytechnique Fédérale de Lausanne until she joined the University of Wisconsin in 1999. Her research focuses on biominerals, including coral skeletons, tooth enamel, nacre, and sea urchin spines. She studies them with spectromicroscopy methods at the Advanced Light Source in Berkeley, where she discovers the complex structures of the biominerals, and their formation mechanisms. She won several awards for her research and teaching, including the UW-Madison Distinguished Teaching Award in 2011, Radcliffe Fellowship 2014-15, and the David A. Shirley Award in 2018. She lives in Madison and Berkeley with her husband Ben.
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