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21 waste
1 nFOOD residuo mMINE escombrera f, estériles m plNUCL basura fPAPER, POLL residuos m plPROD efluente m, desechos m pl, desperdicios m pl, despojos m pl, loss merma f, residuos m pl, basura f, pérdida fRECYCL residuos m pl, desechos m pl, basura fSAFE basura fTEXTIL merma f, retales del corte m pl2 vtRECYCL agotar, gastar -
22 Girard, Philippe de
SUBJECT AREA: Textiles[br]b. 1775 Franced. 1845[br]French developer of a successful flax-heckling machine for the preparation of fibres for power-spinning.[br]Early drawing and spinning processes failed to give linen yarn the requisite fineness and homogeneity. In 1810 Napoleon offered a prize of a million francs for a successful flax-spinning machine as part of his policy of stimulating the French textile industries. Spurred on by this offer, Girard suggested three improvements. He was too late to win the prize, but his ideas were patented in England in 1814, although not under his own name. He proposed that the fibres should be soaked in a very hot alkaline solution both before drawing and immediately before they went to the spindles. The actual drawing was to be done by passing the dried material through combs or gills that moved alternately; gill drawing was taken up in England in 1816. His method of wet spinning was never a commercial success, but his processes were adopted in part and developed in Britain and spread to Austria, Poland and France, for his ideas were essentially good and produced a superior product. The successful power-spinning of linen thread from flax depended primarily upon the initial processes of heckling and drawing. The heckling of the bundles or stricks of flax, so as to separate the long fibres of "line" from the shorter ones of "tow", was extremely difficult to mechanize, for each strick had to be combed on both sides in turn and then in the reverse direction. It was to this problem that Girard next turned his attention, inventing a successful machine in 1832 that subsequently was improved in England. The strick was placed between two vertical sheets of combs that moved opposite to each other, depositing the tow upon a revolving cylinder covered with a brush at the bottom of the machine, while the holder from which the strick was suspended moved up and down so as to help the teeth to penetrate deeper into the flax. The tow was removed from the cylinder at the bottom of the machine and taken away to be spun like cotton. The long line fibres were removed from the top of the machine and required further processing if the yarn was to be uniform.When N.L.Sadi Carnot's book Réflexions sur la puissance motrice du feu, was published in 1824, Girard made a favourable report on it.[br]Further ReadingM.Daumas (ed.), 1968, Histoire générale des techniques, Vol. III: L'Expansion duMachinisme, Paris.C.Singer (ed.), 1958, A History of'Technology, Vol. IV, Oxford: Clarendon Press. T.K.Derry and T.I.Williams, 1960, A Short History of Technology from the EarliestTimes to AD 1900, Oxford.W.A.McCutcheon, 1966–7, "Water power in the North of Ireland", Transactions of the Newcomen Society 39 (discusses the spinning of flax and mentions Girard).RLH -
23 Lumière, Auguste
SUBJECT AREA: Photography, film and optics[br]b. 19 October 1862 Besançon, Franced. 10 April 1954 Lyon, France[br]French scientist and inventor.[br]Auguste and his brother Louis Lumière (b. 5 October 1864 Besançon, France; d. 6 June 1948 Bandol, France) developed the photographic plate-making business founded by their father, Charles Antoine Lumière, at Lyons, extending production to roll-film manufacture in 1887. In the summer of 1894 their father brought to the factory a piece of Edison kinetoscope film, and said that they should produce films for the French owners of the new moving-picture machine. To do this, of course, a camera was needed; Louis was chiefly responsible for the design, which used an intermittent claw for driving the film, inspired by a sewing-machine mechanism. The machine was patented on 13 February 1895, and it was shown on 22 March 1895 at the Société d'Encouragement pour l'In-dustrie Nationale in Paris, with a projected film showing workers leaving the Lyons factory. Further demonstrations followed at the Sorbonne, and in Lyons during the Congrès des Sociétés de Photographie in June 1895. The Lumières filmed the delegates returning from an excursion, and showed the film to the Congrès the next day. To bring the Cinématographe, as it was called, to the public, the basement of the Grand Café in the Boulevard des Capuchines in Paris was rented, and on Saturday 28 December 1895 the first regular presentations of projected pictures to a paying public took place. The half-hour shows were an immediate success, and in a few months Lumière Cinématographes were seen throughout the world.The other principal area of achievement by the Lumière brothers was colour photography. They took up Lippman's method of interference colour photography, developing special grainless emulsions, and early in 1893 demonstrated their results by lighting them with an arc lamp and projecting them on to a screen. In 1895 they patented a method of subtractive colour photography involving printing the colour separations on bichromated gelatine glue sheets, which were then dyed and assembled in register, on paper for prints or bound between glass for transparencies. Their most successful colour process was based upon the colour-mosaic principle. In 1904 they described a process in which microscopic grains of potato starch, dyed red, green and blue, were scattered on a freshly varnished glass plate. When dried the mosaic was coated with varnish and then with a panchromatic emulsion. The plate was exposed with the mosaic towards the lens, and after reversal processing a colour transparency was produced. The process was launched commercially in 1907 under the name Autochrome; it was the first fully practical single-plate colour process to reach the public, remaining on the market until the 1930s, when it was followed by a film version using the same principle.Auguste and Louis received the Progress Medal of the Royal Photographic Society in 1909 for their work in colour photography. Auguste was also much involved in biological science and, having founded the Clinique Auguste Lumière, spent many of his later years working in the physiological laboratory.[br]Further ReadingGuy Borgé, 1980, Prestige de la photographie, Nos. 8, 9 and 10, Paris. Brian Coe, 1978, Colour Photography: The First Hundred Years, London ——1981, The History of Movie Photography, London.Jacques Deslandes, 1966, Histoire comparée du cinéma, Vol. I, Paris. Gert Koshofer, 1981, Farbfotografie, Vol. I, Munich.BC
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