To investigate a factor which will affect, the resistance of wire Essays

To investigate a factor which will affect, the resistance of wire Essays To investigate a factor which will affect, the resistance of wire Essay To investigate a factor which will affect, the resistance of wire Essay Aim: to investigate a factor which will affect, the resistance of wire.There are four different factors we could choose to vary:-1. Thickness/diameter of the wire2. Length of wire3. Material of wire4. temperature of wireWe decided to change the factor length because it allows us to get continuous data in a large range. It is also the easiest to vary. I decided against Diameter of wire because it is hard to compare to resistance (they cannot be plotted against one another because as resistance goes up the thickness goes down), I also decided not to vary the material the wire is made of because it would give us discrete data which is hard to analyse. Temperature is a very bad variable because it is so hard to control; the circuit will increase in temperature whatever I do, so I need to take that into account.RESISTANCEResistance is anything in the circuit which slows the flow down. We know that Length affects this because as length increases so does resistance. Ohms Law, Potential Difference (V) across a conductor is directly proportional to the current (I) flowing through it, providing the temperature is the same.R=V/I resistance= voltage/currentResistivity: p=RA/lResistivity=resistance X cross section of the wire / length of wirePRELIMINARY REULTSWe did a short preliminary experiment to see how the resistance affected the temperature of the wire, when we put one crocodile clip at 0mm and one at 100mm the wire got so hot it began to burn and give off smoke. From this preliminary experiment we decided not to take any measurements under 100mm because it could become unsafe.RANGE OF RESULTSWe have decided to take results at 100mm, 200mm, 300mm, 400mm, 500mm, 600mm, 700mm, 800mm and 900mm we shall take each measurement twice. This should give us a wide enough range of results to plot on Graphs we will also re-do any anomalous resultsPREDICTIONI predict that as the length increases so will the Resistance because Ohms law states that potential difference is directly proportional to current and the current will increase as the length of the wire increases because there will be more resistance on it (it will be more spread out, current is carried by electrons in metals)SAFE TESTTo make sure everything is safe whilst carrying out the experiment safety goggles must be worn and the wire must not be touched while current is flowing round it and shortly after because it will be hot.FAIR TESTTo make sure the investigation is fair, we will use the same equipment each time, monitor the temperature (if the wire start to give off smoke we will stop and give it time to cool down to reduce anomalies) and we will measure our wire using a micrometer to check the width before doing any equations.EQUIPEMENTPower pack, to power our experiment so current flows through the wire.Ammeter, to measure the current flowing round our circuit.Voltmeter, to measure the voltage of our circuit.1m Nicrome Wire, to test.Wire, to put, our circuit together with.Metre rule, to measure the lengths of wires.Crocodile clips, to hold wires in place.DIAGRAMMETHOD1. set up apparatus as above2. Put crocodile clips at 0mm and 900mm3. Turn power pack on4. record Current and Volts5. Turn off Power pack6. Repeat steps 1-47. Repeat steps 2-6 but with 800mm.700mm, 600mm,500mm,400mm,300mm,200mm and 100mmWe can clearly see my results are correct because the constant is constant. To make our results accurate we used the same equipment each time, kept an eye on the temperature(When the wire started to give off smoke we stopped and give it time to cool down to reduce anomalies), we used digital a digital ammeter and voltmeter to reduce human error and we measured our wire using a micrometer to check the width before doing any equations. The width was 26mgs which is : 0.45 mm.ANAYLSISWe can clearly se that our graph supports our prediction, As the length increases so does the resistance, this tells us that Length and resistance are directly proportional. We can now work out the resistivity of the different lengths of wire:100mmResistivity=0.785 x 0.45100Resistivity=0.00353200mmResistivity=1.49 x 0.45200Resistivity= 0.00335300mmResistivity=2.11 x 0.45300Resistivity= 0.00352400mmResistivity=1.34 x 0.45400Resistivity= 0.00151500mmResistivity= 1.055 x 0.45500Resistivity= 0.00095600mmResistivity= 0.88 x 0.45600Resistivity= 0.00066700mmResistivity=0.81 x 0.45700Resistivity= 0.00052800mmResistivity=0.71 x 0.45800Resistivity=0.00040900mmResistivity= 0.62 x 0.45900Resistivity= 0.00031EVALUATIONOnly one anomalous result was obvious whilst carrying out our investigation (at 700mm) so we went back and did it again. Unfortunately when looking at my graph it seems there were more anomalies, I have circled them in the table and on the graph. I think the anomalies may have occurred because our battery pack broke and we had to get a replacement. Apart from the battery pack everything else went safely and well. Our preliminary experiments allowed us to make sure the wire did not get too hot which meant we did not get any anomalies around 100mm and that we were safer. I think our range was big enough but if we had more time I would have liked to done another repeat and possibly take measurements at 50mm intervals to achieve a greater range of results.I thought our results were really good they clearly supported our prediction that as length increases so does resistance. If I was to further this experiment I would use different metals and see which had the best resistivity, I would not use a metre rule because it was easy for human error to occur as it was not particularly detailed perhaps a digital measuring device would have been better. I might also try a different variable such as diameter of wire to see how that affected the resistance. Overall I was very pleased with our investigation and think that we did all we could to do it well.

Biography of Artist Louise Bourgeois

Biography of Artist Louise Bourgeois Second generation surrealist and feminist sculptor Louise Bourgeois was one of the most important American artists of the late twentieth and twenty-first centuries. Similar to other second-generation Surrealist artists like Frida Kahlo, she channeled her pain into the creative concepts of her art. These highly charged feelings produced hundreds of sculptures, installations, paintings, drawings and fabric pieces in numerous materials. Her environments, or cells, might include traditional marble and bronze sculptures alongside common castoffs (doors, furniture, clothes and empty bottles). Each artwork poses questions and irritates with ambiguity. Her goal was to provoke emotional reactions rather than reference intellectual theory. Often disturbingly aggressive in her suggestive sexual shapes (a distressed phallic image called Fillette/Young Girl, 1968, or multiple latex breasts in The Destruction of the Father, 1974), Bourgeois invented gendered metaphors well before Feminism took roo t in this country. Early Life Bourgeois was born on Christmas Day in Paris to Josà ©phine Fauriaux and Louis Bourgeois, the second of three children. She claimed that she was named after Louise Michel (1830-1905), an anarchist feminist from the days of the French Commune (1870-71). Bourgeois mothers family came from Aubusson, the French tapestry region, and both her parents owned an antique tapestry gallery at the time of her birth. Her father was drafted into World War I (1914-1918), and her mother frantically lived through those years, infecting her toddler daughter with great anxieties. After the war, the family settled in Choisy-le-Roi, a suburb of Paris, and ran a tapestry restoration business. Bourgeois remembered drawing the missing sections for their restoration work. Education Bourgeois did not choose art as her vocation right away. She studied math and geometry at the Sorbonne from 1930 to 1932. After her mothers death in 1932, she switched to art and art history. She completed a baccalaureate in philosophy. From 1935 to 1938, she studied art in several schools: the Atelier Roger Bissià ¨re, the Acadà ©mie dEspagnat, the École du Louvre, Acadà ©mie de la Grande Chaumià ¨re and École Nationale Supà ©rieure des Beaux-Arts, the École Muncipale de Dessin et dArt, and the Acadà ©mie Julien. She also studied with the Cubist master Fernand Là ©ger in 1938. Là ©ger recommended sculpture to his young student. That same year, 1938, Bourgeois opened a print shop next to her parents business, where she met art historian Robert Goldwater (1907-1973). He was looking for Picasso prints. They married that year and Bourgeois moved to New York with her husband. Once settled in New York, Bourgeois continued to study art in Manhattan with Abstract Expressionist Vaclav Vytlacil (1892-1984), from 1939 to 1940, and at the Art Students League in 1946. Family and Career In 1939, Bourgeois and Goldwater returned to France to adopt their son Michel. In 1940, Bourgeois gave birth to their son Jean-Louis and in 1941, she gave birth to Alain. (No wonder she created a series Femme-Maison in 1945-47, houses in the shape of a woman or attached to a woman. In three years she became the mother of three boys. Quite a challenge.) On June 4, 1945, Bourgeois opened her first solo exhibition at Bertha Schaefer Gallery in New York. Two years later, she mounted another solo show at Norlyst Gallery in New York. She joined the American Abstract Artists Group in 1954. Her friends were Jackson Pollock, Willem de Kooning, Mark Rothko and Barnett Newman, whose personalities interested her more than the Surrealist à ©migrà ©s she met during her early years in New York. Through these tempestuous years among her male peers, Bourgeois experienced the typical ambivalence of the career-minded wife and mother, fighting off anxiety-attacks while preparing for her shows. To restore equilibrium, she often hid her work but never destroyed it. In 1955, Bourgeois became an American citizen. In 1958, she and Robert Goldwater moved to the Chelsea section of Manhattan, where they remained to the end of their respective lives. Goldwater died in 1973, while consulting on the Metropolitan Museum of Arts new galleries for African and Oceanic art (todays Michael C. Rockefeller Wing). His specialty was primitivism and modern art as a scholar, teacher at NYU, and the first director of the Museum of Primitive Art (1957 to 1971). In 1973, Bourgeois began to teach at Pratt Institute in Brooklyn, Cooper Union in Manhattan, Brooklyn College and the New York Studio School of Drawing, Painting and Sculpture. She was already in her 60s. At this point, her work fell in with the Feminist movement and exhibition opportunities increased significantly. In 1981, Bourgeois mounted her first retrospective at the Museum of Modern Art. Almost 20 years later, in 2000, she exhibited her enormous spider, Maman (1999), 30 feet high, in the Tate Modern in London. In 2008, the Guggenheim Museum in New York and Centre Pompidou in Paris exhibited another retrospective. Today, exhibitions of Louise Bourgeois work may occur simultaneously as her work is always in great demand. The Dia Museum in Beacon, New York, features a long-term installation of her phallic sculptures and a spider. Bourgeois Confessional Art Louise Bourgeois body of work draws its inspiration from her memory of childhood sensations and traumas. Her father was domineering and a philanderer. Most painful of all, she discovered his affair with her English nanny. Destruction of the Father, 1974, plays out her revenge with a pink plaster and latex ensemble of phallic or mammalian protrusions gathered around a table where the symbolic corpse lies, splayed out for all to devour. Similarly, her Cells are architectural scenes with made and found objects tinged with domesticity, child-like wonder, nostalgic sentimentality and implicit violence. Some sculptures objects seem strangely grotesque, like creatures from another planet. Some installations seem uncannily familiar, as if the artist recalled your forgotten dream. Important Works and Accolades Femme Maison (Woman House), ca. 1945-47.Blind Leading the Blind, 1947-49.Louise Bourgeois in costume as Artemis of Ephesus, 1970Destruction of the Father, 1974.Cells Series, 1990s.Maman (Mother), 1999.Fabric Works, 2002-2010. Bourgeois received numerous awards, including a Life Time Achievement in Contemporary Sculpture Award in Washington D.C. in 1991, the National Medal of Arts in 1997, the French Legion of Honor in 2008 and induction into the National Womens Hall of Fame in Seneca Falls, New York in 2009.    Sources Munro, Eleanor. Originals: American Women Artists.  New York: Simon and Schuster, 1979. Cotter, Holland. Louise Bourgeois Influential Sculptor, Dies at 98, New York Times, June 1, 2010. Cheim and Read Gallery, bibliography. Louise Bourgeois (2008 retrospective), Guggenheim Museum, website Louise Bourgeois, exhibition catalogue, edited by Frank Morris and Marie-Laure Bernadac.  New York: Rizzoli, 2008. Film: Louise Bourgeois: The Spider, The Mistress and The Tangerine,  Produced and directed by Marion Cajori and Amei Wallach, 2008.