Optical Glasses Quotes

Unlike blowing or forming glass, resulting in smooth and continuous surfaces; the printing of glass enables high levels of control over shape and optical properties.

Optically transparent, structurally sound and chemically inert, glass is a fabulous building material and has been for over four thousand years. Still, the production and use of hundreds of billions of glass facad components every year in the US alone begs the question; What if we can utilize this immense surface area for harvesting solar energy in efficient and effective ways.

Optically transparent, structurally sound and chemically inert, glass is a fabulous building material and has been for over four thousand years. Still, the production and use of hundreds of billions of glass facad components every year in the US alone begs the question; What if we can utilize this immense surface area for harvesting solar energy in efficient and effective ways? The 3D Printing of optically transparent glass points toward such a possible future.

As for his height, I would put it at no more than five feet nine inches — he being fully erect, out of his monkey crouch — and yet he brazenly put down five feet eleven on all forms and applications … He wore glasses, the lenses thick and greasy, which distorted the things of the world into unnatural shapes. I myself have never needed glasses. I can read roadsigns a halfmile away and I can see individual stars and planets to the seventh magnitude with no optical aids whatever. I can see Uranus.

GWGs [girls with glasses] aren't happy being nomads; they need a safe place to put their glasses while they sleep.

The Song Of The Happy Shepherd The woods of Arcady are dead, And over is their antique joy; Of old the world on dreaming fed; Grey Truth is now her painted toy; Yet still she turns her restless head: But O, sick children of the world, Of all the many changing things In dreary dancing past us whirled, To the cracked tune that Chronos sings, Words alone are certain good. Where are now the warring kings, Word be-mockers?—By the Rood, Where are now the watring kings? An idle word is now their glory, By the stammering schoolboy said, Reading some entangled story: The kings of the old time are dead; The wandering earth herself may be Only a sudden flaming word, In clanging space a moment heard, Troubling the endless reverie. Then nowise worship dusty deeds, Nor seek, for this is also sooth, To hunger fiercely after truth, Lest all thy toiling only breeds New dreams, new dreams; there is no truth Saving in thine own heart. Seek, then, No learning from the starry men, Who follow with the optic glass The whirling ways of stars that pass— Seek, then, for this is also sooth, No word of theirs—the cold star-bane Has cloven and rent their hearts in twain, And dead is all their human truth. Go gather by the humming sea Some twisted, echo-harbouring shell. And to its lips thy story tell, And they thy comforters will be. Rewording in melodious guile Thy fretful words a little while, Till they shall singing fade in ruth And die a pearly brotherhood; For words alone are certain good: Sing, then, for this is also sooth. I must be gone: there is a grave Where daffodil and lily wave, And I would please the hapless faun, Buried under the sleepy ground, With mirthful songs before the dawn. His shouting days with mirth were crowned; And still I dream he treads the lawn, Walking ghostly in the dew, Pierced by my glad singing through, My songs of old earth’s dreamy youth: But ah! she dreams not now; dream thou! For fair are poppies on the brow: Dream, dream, for this is also sooth.

Thanks to the printing press, the Continent was suddenly populated by people who were experts at manipulating light through slightly convex pieces of glass. These were the hackers of the first optical revolution.

Visual illusions, too, fascinated me; they showed how intellectual understanding, insight, and even common sense were powerless against the force of perceptual distortions. Gibson’s inverting glasses showed the power of the mind to rectify optical distortions, where visual illusions showed its inability to correct perceptual ones.

An eminent philosopher among my friends, who can dignify even your ugly furniture by lifting it into the serene light of science, has shown me this pregnant little fact. Your pier-glass or extensive surface of polished steel made to be rubbed by a housemaid, will be minutely and multitudinously scratched in all directions; but place now against it a lighted candle as a centre of illumination, and lo! the scratches will seem to arrange themselves in a fine series of concentric circles round that little sun. It is demonstrable that the scratches are going everywhere impartially and it is only your candle which produces the flattering illusion of a concentric arrangement, its light falling with an exclusive optical selection. These things are a parable. The scratches are events, and the candle is the egoism of any person now absent— of Miss Vincy, for example. Rosamond had a Providence of her own who had kindly made her more charming than other girls, and who seemed to have arranged Fred's illness and Mr. Wrench's mistake in order to bring her and Lydgate within effective proximity. It

At the end of its eight-minute journey from the sun, light passes through the stained glass of St Matthias Church in Richmond, London, and enters the dual darkrooms of Jasper’s eyeballs. The rods and cones packing his retinas convert the light into electrical impulses that travel along optic nerves into his brain, which translates the varying wavelengths of light into ‘Virgin Mary blue’, ‘blood of Christ red’, ‘Gethsemane green’, and interprets the images as twelve disciples, each occupying a segment of the cartwheel window. Vision begins in the heart of the sun. Jasper notes that Jesus’s disciples were, essentially, hippies: long hair, gowns, stoner expressions, irregular employment, spiritual convictions, dubious sleeping arrangements and a guru.

At the end of its eight-minute journey from the sun, light passes through the stained glass of St. Matthias Church in Richmond, London, and enters the dual darkrooms of Jasper’s eyeballs. The rods and cones packing his retinas convert the light into electrical impulses that travel along optic nerves into his brain, which translates the varying wavelengths of light into “Virgin Mary blue,” “blood of Christ red,” “Gethsemane green,” and interprets the images as twelve disciples, each occupying a segment of the cartwheel window. Vision begins in the heart of the sun. Jasper notes that Jesus’s disciples were, essentially, hippies: long hair, gowns, stoner expressions, irregular employment, spiritual convictions, dubious sleeping arrangements, and a guru.

She finds herself, by some miraculous feat, no longer standing in the old nursery but returned to the clearing in the woods. It is the 'green cathedral', the place she first kissed Jack all those weeks ago. The place where they laid out the stunned sparrowhawk, then watched it spring miraculously back to life. All around, the smooth, grey trunks of ancient beech trees rise up from the walls of the room to tower over her, spreading their branches across the ceiling in a fan of tangled branches and leaves, paint and gold leaf cleverly combined to create the shimmering effect of a leafy canopy at its most dense and opulent. And yet it is not the clearing, not in any real or grounded sense, because instead of leaves, the trees taper up to a canopy of extraordinary feathers shimmering and spreading out like a peacock's tail across the ceiling, a hundred green, gold and sapphire eyes gazing down upon her. Jack's startling embellishments twist an otherwise literal interpretation of their woodland glade into a fantastical, dreamlike version of itself. Their green cathedral, more spectacular and beautiful than she could have ever imagined. She moves closer to one of the trees and stretches out a hand, feeling instead of rough bark the smooth, cool surface of a wall. She can't help but smile. The trompe-l'oeil effect is dazzling and disorienting in equal measure. Even the window shutters and cornicing have been painted to maintain the illusion of the trees, while high above her head the glass dome set into the roof spills light as if it were the sun itself, pouring through the canopy of eyes. The only other light falls from the glass windowpanes above the window seat, still flanked by the old green velvet curtains, which somehow appear to blend seamlessly with the painted scene. The whole effect is eerie and unsettling. Lillian feels unbalanced, no longer sure what is real and what is not. It is like that book she read to Albie once- the one where the boy walks through the wardrobe into another world. That's what it feels like, she realizes: as if she has stepped into another realm, a place both fantastical and otherworldly. It's not just the peacock-feather eyes that are staring at her. Her gaze finds other details: a shy muntjac deer peering out from the undergrowth, a squirrel, sitting high up in a tree holding a green nut between its paws, small birds flitting here and there. The tiniest details have been captured by Jack's brush: a silver spider's web, a creeping ladybird, a puffy white toadstool. The only thing missing is the sound of the leaf canopy rustling and the soft scuttle of insects moving across the forest floor.

Nonna tucked each of her hands into the opposite sleeve, a wizened Confucius in a leopard bathrobe. "Michelangleo, he goes. For days and days he stays away from Elisabetta. The other girls, the prettier girls, have hope again. And then, there he goes once more, carrying only his nonno's ugly old glass-his telescope-and a bag of figs. These he lays at her feet. "'I see you,' he tells her. 'Every day for months, I watch. I see you. Where you sit, the sea is calm and dolphins swim near you. I see your mended net looks like a lady's lace. I see you dance in the rain before you run home. I see the jewel mosaic you leave to be scattered and remade again and again, piu bella than gold and pearls. You are piu bella than any other, queen of the sea. "'You do not need silk or pearls. I see that. But they are yours if you wish. I am yours if you wish.If you like what you see.' He gives her the glass. She takes it. Then she asks, 'What about the figs? My bisnonno, he laughs. 'It might take time, your looking to see if you like me. I bring lunch.'" Nonna slapped her knee again, clearly delighted with little Michelangelo's humor. "There is the love story. You like it?" I swallowed another yawn. "Si, Nonna.It's a good story." I couldn't resist. "But...a talking seagull? A dolphin guide? That kinda stretches the truth, dontcha think?" Nonna shrugged. "All truth, not all truth, does it matter? My nonno Guillermo came to Michelangelo and Elisabetta, then my papa Euplio to him, then me, your papa, you." She lowered her feet to the floor. Then pinched my cheek. Hard. Buona notte, bellissima." "Okay,Nonna." I yawned and pulled the white eyelet quilt up.I'd inked abstract swirl-and-dot patterns all over it when I redecorated my room. They're a little optic when I'm that tired. "Buona notte." As I was dozing off,I heard her rummaging in the linen cupboard next to my door. Reorganizing again, I though. She does that when Mom can't see her. They fold things completely different ways.

Yatima found verself gazing at a red-tinged cluster of pulsing organic parts, a translucent confusion of fluids and tissue. Sections divided, dissolved, reorganised. It looked like a flesher embryo – though not quite a realist portrait. The imaging technique kept changing, revealing different structures: Yatima saw hints of delicate limbs and organs caught in slices of transmitted dark; a stark silhouette of bones in an X-ray flash; the finely branched network of the nervous system bursting into view as a filigreed shadow, shrinking from myelin to lipids to a scatter of vesicled neurotransmitters against a radio-frequency MRI chirp. There were two bodies now. Twins? One was larger, though – sometimes much larger. The two kept changing places, twisting around each other, shrinking or growing in stroboscopic leaps while the wavelengths of the image stuttered across the spectrum. One flesher child was turning into a creature of glass, nerves and blood vessels vitrifying into optical fibres. A sudden, startling white-light image showed living, breathing Siamese twins, impossibly transected to expose raw pink and grey muscles working side by side with shape-memory alloys and piezoelectric actuators, flesher and gleisner anatomies interpenetrating. The scene spun and morphed into a lone robot child in a flesher's womb; spun again to show a luminous map of a citizen's mind embedded in the same woman's brain; zoomed out to place her, curled, in a cocoon of optical and electronic cables. Then a swarm of nanomachines burst through her skin, and everything scattered into a cloud of grey dust. Two flesher children walked side by side, hand in hand. Or father and son, gleisner and flesher, citizen and gleisner... Yatima gave up trying to pin them down, and let the impressions flow through ver. The figures strode calmly along a city's main street, while towers rose and crumbled around them, jungle and desert advanced and retreated. The artwork, unbidden, sent Yatima's viewpoint wheeling around the figures. Ve saw them exchanging glances, touches, kisses – and blows, awkwardly, their right arms fused at the wrists. Making peace and melting together. The smaller lifting the larger on to vis shoulders – then the passenger's height flowing down to the bearer like an hourglass's sand.

The top surface of the computer is smooth except for a fisheye lens, a polished glass dome with a purplish optical coating. Whenever Hiro is using the machine, this lens emerges and clicks into place, its base flush with the surface of the computer. The neighborhood loglo is curved and foreshortened on its surface. Hiro finds it erotic. This is partly because he hasn't been properly laid in several weeks. But there's more to it. Hiro's father, who was stationed in Japan for many years, was obsessed with cameras. He kept bringing them back from his stints in the Far East, encased in many protective layers, so that when he took them out to show Hiro, it was like watching an exquisite striptease as they emerged from all that black leather and nylon, zippers and straps. And once the lens was finally exposed, pure geometric equation made real, so powerful and vulnerable at once, Hiro could only think it was like nuzzling through skirts and lingerie and outer labia and inner labia. . . . It made him feel naked and weak and brave. The lens can see half of the universe -- the half that is above the computer, which includes most of Hiro. In this way, it can generally keep track of where Hiro is and what direction he's looking in. Down inside the computer are three lasers -- a red one, a green one, and a blue one. They are powerful enough to make a bright light but not powerful enough to burn through the back of your eyeball and broil your brain, fry your frontals, lase your lobes. As everyone learned in elementary school, these three colors of light can be combined, with different intensities, to produce any color that Hiro's eye is capable of seeing. In this way, a narrow beam of any color can be shot out of the innards of the computer, up through that fisheye lens, in any direction. Through the use of electronic mirrors inside the computer, this beam is made to sweep back and forth across the lenses of Hiro's goggles, in much the same way as the electron beam in a television paints the inner surface of the eponymous Tube. The resulting image hangs in space in front of Hiro's view of Reality. By drawing a slightly different image in front of each eye, the image can be made three-dimensional. By changing the image seventy-two times a second, it can be made to move. By drawing the moving three-dimensional image at a resolution of 2K pixels on a side, it can be as sharp as the eye can perceive, and by pumping stereo digital sound through the little earphones, the moving 3-D pictures can have a perfectly realistic soundtrack. So Hiro's not actually here at all. He's in a computer-generated universe that his computer is drawing onto his goggles and pumping into his earphones. In the lingo, this imaginary place is known as the Metaverse. Hiro spends a lot of time in the Metaverse. It beats the shit out of the U-Stor-It.

DNA testing is to justice what the telescope is for the stars: not a lesson in biochemistry, not a display of the wonders of magnifying optical glass, but a way to see things as they really are,” Scheck has said. “It is a revelation machine.”7

This hybrid of two seemingly unrelated inventions—the concentrated, orderly light of lasers, and the hyper-clear glass fibers—came to be known as fiber optics. Using fiber-optic cables was vastly more efficient than sending electrical signals over copper cables, particularly for long distances: light allows much more bandwidth and is far less susceptible to noise and interference than is electrical energy. Today, the backbone of the global Internet is built out of fiber-optic cables. Roughly ten distinct cables traverse the Atlantic Ocean, carrying almost all the voice and data communications between the continents. Each of those cables contains a collection of separate fibers, surrounded by layers of steel and insulation to keep them watertight and protected from fishing trawlers, anchors, and even sharks.

With the advent of nanotechnology, microfabrication has produced novel manmade constructs called metamaterials which exhibit entirely new properties in terms of their effect on light, effects which are not found in conventional materials, or even in nature itself. Early in the 21st century, a chance observation showed that an ultrathin layer of silver on a flat sheet of glass would act like a lens, and from this point, the development of the ‘perfect’ or ‘superlens’ began, with the theoretical possibility to image details such as viruses in living cells with a light microscope, bypassing Abbe’s diffraction limit. Metamaterials have been produced that make this possible, as they have a property previously unimagined in optics, and not found in nature, which is a negative refractive index.

Cortical maps are dynamic, and can change as circumstances alter. Many of us have experienced this, getting a new pair of glasses or a new hearing aid. At first the new glasses or hearing aids seem intolerable, distorting - but within days or hours, our brain adapts to them, and we can make full use of our new new optically or acoustically improved senses. It is similar with the brain's mapping of the body image, which adapts quite rapidly if there are changes in the sensory input or the use of the body.

due to the precision of the optical electron oscillation frequency within strontium or aluminium. 30. Train of identical nearly single-cycle optical pulses. The spectrum of the pulse train looks like the teeth of a comb, hence it is called a frequency comb. ‘Optical clockwork’ of this kind allows the comparison of disparate frequencies with such remarkable precision that it provides a means to test the tenets of relativity, and thus to understand better the role of light in defining space and time. Frequency, and thus time, is the physical quantity that can be measured with the highest precision of any quantity, by far. Optical telecommunications Frequency combs are also important in telecommunications links based on light. In Chapter 3, I described how optical waves could be guided along a fibre or in a glass ‘chip’. This phenomenon underpins the long-distance telecommunications infrastructure that connects people across different continents and powers the Internet. The reason it is so effective is that light-based communications have much more capacity for carrying information than do electrical wires, or even microwave cellular networks. This makes possible massive data transmission, such as that needed to deliver video on demand over the Internet. Many telecommunications companies offer ‘fibre optic broadband’ deals. A key feature of these packages is the high speed—up to 100 megabytes per second (MBps)—at which data may be received and transmitted. A byte is a number of bits, each of which is a 1 or a 0. Information is sent over fibres as a sequence of ‘bits’, which are decoded by your computer or mobile phone into intelligible video, audio, or text messages. In optical communications, the bits are represented by the intensity of the light beam—typically low intensity is a 0 and higher intensity a 1. The more of these that arrive per second, the faster the communication rate. The MBps speed of the package specifies how rapidly we can transmit and receive information over that company’s link.

...an unlikely group pieced together these past few weeks from parties and family references, friend-of-friend happenstance, and (in one case, just now being introduced) sheer, scarcely tolerable intrusiveness-five people who, in normal life back home, would have been satisfied never to have known one another. Five young expatriates hunch around an undersized cafe table: a moment of total insignificance, and not without a powerful whiff of cliche. Unless you were one of them. Then this meaningless, overdrawn moment may (then or later) seem to be somehow the summation of both an era and your own youth, your undeniably defining afternoon (though you can hardly say that aloud without making a joke of it). Somehow this one game of Sincerity becomes the distilled recollection of a much longer series of events. It persistantly rises to the surface of your memory-that afternoon when you fell in love with a person or a place or a mood, when you savored the power of fooling everyone, when you discovered some great truth about the world, when (like a baby duck glimpsing your quacking mother's waddling rear for the first time) an indelible brand was seared into your heart, which is, of course, a finate space with limited room for searing. Despite its insignificance, there was this moment, this hour or two, this spring afternoon blurring into evening on a cafe patio in a Central European capital in the opening weeks of its post-Communist era. The glasses of liqueur. The diamond dapples of light between oval, leaf-shaped shadows, like optical illusions. The trellised curve of the cast-iron fence seperating the patio from its surrounding city square. The uncomfortable chair. Someday this too will represent someone's receding, cruelly unattainable golden age. (4-5)

MOUNTAIN VIEW, CA—Following the company’s announcement that it would discontinue public sales of the wearable technology, Google officials confirmed Monday that all unsold units of Google Glass would be donated to underprivileged assholes in Africa. “We are committed to positively impacting the lives of poverty-stricken smug pricks by distributing the surplus inventory of Google Glass to self-important fucks throughout sub-Saharan Africa,” a statement released by the company read in part, adding that the program will provide the optical head-mounted technology, as well as professional training sessions, to destitute communities of conceited dicks from Sierra Leone, to Somalia, to Botswana. “This gesture will help tens of thousands of poor and needy men, women, and children across the continent who have never had the opportunity to walk around looking like a pompous jackass all day long. From the moment they turn on their new Google Glass in clear view of others, they’ll immediately start experiencing the undeserved sense of superiority currently lacking in their lives.” At press time, Google confirmed that the first devices had been presented to an indigent family of complete fucking jerkoffs from the Republic of Guinea.

On Earth, the Phoenicians invented the alphabet, the Greeks democracy, the Chinese gunpowder, the Europeans optical glass. Our civilization is a blend of these over time. We

the leather stool at the bar, and sighed as her bare feet touched the cool brass footrest running the length of the dark wood counter. Lethe hadn’t changed in the two years since she’d last set foot on the floor that lent itself to an optical illusion, painted with black, gray, and white cubes. The cherrywood pillars still rose like trees to form the carved, arched ceiling high above, looming over a bar made from fogged glass and black metal, all clean lines and square edges.

Often, what we see in art is a reflection of us. Of our optics. Our mindset. Have you ever tried to read a novel and not enjoyed it, then gone back at another point in time and loved it? The story didn’t change. But you did. This is an insight into who we are at any given moment and what we bring to our unique intersection with art.

As I adjusted to the light, the Crawler kept changing at a lightning pace, as if to mock my ability to comprehend it. It was a figure within a series of refracted panes of glass. It was a series of layers in the shape of an archway. It was a great sluglike monster ringed by satellites of even odder creatures. It was a glistening star. My eyes kept glancing off of it as if an optic nerve was not enough

Kao hadn’t said that pure glass would replace wires or waveguides immediately. He had only concluded it was possible. He was also liberated to some extent from the pressures that shaped the views of the Bell Labs scientists. Labs upper management had bet the future on waveguides, but Kao had not. The fiber optic historian Jeff Hecht would later point out that Kao (unlike the accountants at AT&T) had no incentive to make years of investment, in both time and effort, pay off.

The fundamental goal in making transistor materials is purity; the fundamental goal in making fiber materials is clarity. Only then can light pass through unimpeded; or as optical engineers say, only then can “losses” of light in the fiber be kept to an acceptable minimum. Two problems stand in the way of this objective, and both plagued early fiber makers. When a fiber shows too much “absorption,” it means that too much light is being lost thanks to traces of impurities—metals such as nickel and iron—within the glass. The other problem is called “scattering.” A more complicated phenomenon, scattering often arises from imperfections—infinitesimal bubbles or cracks, for instance—in the glass crystal itself.

The expanding wave of intense heat caused his exterior optical glass to explode, as the blast created its own hurricane force winds that propelled the monstrous fireball outward and skyward.

The message left Kiel at a speed of 300,000 kilometres per second. The sequence of words keyed into Erwin Suess’s laptop at the Geomar Centre entered the net in digital form. Converted by laser diodes into optical pulses, the information raced along with a wavelength of 1.5 thousandths of a millimetre, shooting down a transparent fibreoptic cable with millions of phone conversations and packets of data. The fibres bundled the stream of light until it was no thicker than two hairs, while total internal reflection stopped it escaping. Whizzing towards the coast, the waves surged along the overland cable, speeding through amplifiers every fifty kilometres until the fibres vanished into the sea, protected by copper casing and thick rubber tubing, and strengthened by powerful wires. The underwater cable was as thick as a muscular forearm. It stretched out across the shelf, buried in the seabed to protect it from anchors and fishing-boats. TAT 14, as it was officially known, was a transatlantic cable linking Europe to the States. Its capacity was higher than that of almost any other cable in the world. There were dozens of such cables in the North Atlantic alone. Hundreds of thousands of kilometres of optical fibre extended across the planet, making up the backbone of the information age. Three-quarters of their capacity was devoted to the World Wide Web. Project Oxygen linked 175 countries in a kind of global super Internet. Another system bundled eight optical fibres to give a transmission capacity of 3.2 terabits per second, the equivalent of 48 million simultaneous phone conversations. The delicate glass fibres on the ocean bed had long since supplanted satellite technology.

His hand came up, forefinger flicking the corroded ball-chain that dangled from the zip-tab at the neck of Skinner’s jacket. “Those VL glasses. Virtual light.” She’d heard of it, but she wasn’t sure what it was. “They expensive, Sammy Sal?” “Shit, yes. ’Bout as much as a Japanese car. Not all that much more, though. Got these little EMP-drivers around the lenses, work your optic nerves direct. Friend of mine, he’d bring a pair home from the office where he worked. Landscape architects. Put ’em on, you go out walking, everything looks normal, but every plant you see, every tree, there’s this little label hanging there, what its name is, Latin under that …

My vertical pair of glasses streams one letter.

-optical or visual illusion .Does an open eye mean an open vision? “Mind the glass” caution sign