Wie funktionieren elektrische Lichtschalter?

An einen Basislichtschalter sind nur zwei Drähte angeschlossen. Einer ist an die Stromquelle (Leitung) angeschlossen, der andere an das Licht oder ein anderes Objekt, das gesteuert werden soll. Grundsätzlich geschieht innerhalb des Schalters, dass es zwei Kontakte gibt. Wenn Sie den Schalter "Ein" einschalten, wird er mit den beiden Kontakten zusammengeführt, damit die Stromversorgung fließen kann. Wenn Sie "Aus" einschalten, bewegen Sie diese beiden Kontakte nach Stoppen Sie den Stromfluss. Richtig einfach.

Eine gebräuchliche Variante ist die "3-Wege" -Taste, mit der ein Licht oder eine andere Last von zwei Stellen aus ein- oder ausgeschaltet werden kann, z. B. oben und unten in einer Treppe. Hier sind drei Threads statt zwei. Anstatt nur einen einzelnen Schalter zu erstellen und zu unterbrechen, dreht sich der "Arm" -Schalter zwischen zwei anderen Drähten, die als "Läufer" bezeichnet werden, zum zweiten Schalter. Beim zweiten Schalter wird der "Arm" zwischen den beiden "Runner" -Kabeln gedreht und mit der Last verbunden. Es ist möglich, eine Reihe von zweipoligen Umschaltern in Läufern hinzuzufügen, um zusätzliche Punkte zur Steuerung der Abschaltung einer einzelnen Last zu erhalten. Wie das funktioniert, wäre verwirrend, aber es funktioniert!

Ich habe einmal eine "Trick" -Schaltung verwendet, um eine geschaltete Steckdose und einen 3-Wege-Lichtschalter an eine Garage mit nur 3 Drähten zu liefern. (Normalerweise würden 4 Kabel benötigt – ich habe die vorhandene Verwaltung verwendet.)

Wenn dies verwirrend ist, ist es sehr einfach, wenn Sie es herausziehen.

The narrow subject of prehistoric art that is wildlife and fertility as well as remote and inaccessibility in many of the cave paintings, sculptures and engravings that were discovered gave the revelation that works of art were not for artistic reasons "produced for mere decoration. The prehistoric men and women had much more relevant Reasons to produce artwork Some of the reasons for their creation are:

1. One way to survive
2. A form of magic to overcome the animals that threatened life
3. A form of ritual and worship
4. Teaching tools for amateur hunters
5. Recording information and storytelling stories
6. Fertility charm

• As a way to survive

The consideration of animals in the various prehistoric arts, such as paintings, sculpture, engraving and ceramics, indicates the importance of animals in these communities. In fact, the whole survival and lifestyle of the men and women of the cave depended heavily on animals. The reproduction of the animal's images in painting, engraving and sculpture was a form of charm or magic that ensured successful hunting of the wild and cruel animals in the deep caves and thick forests. The points below illustrate how the hunted animals were used to meet basic sensations of the life of prehistoric men and women:

1. The meaty portions or the meat from the hunted animals are eaten as food.
2. The outer clothing or skins of the animals, the feathers of large birds and the fur's fur were worn on the body as a form of fabric for protection against the harsh climatic or weather conditions.
3. The fats and marrows produced from the animals were used as fuel in the lamps made of stone or clay.
4. The fats of the animals and their blood were used to produce colored pigments and binders for colored ochers from stones.
5. Animal legs were used to produce simple weapons for hunting activities and as palettes for mixing colors.
6. Aside from the caves that served as the primary protection for the men and women of the cave, they made tents from animal skins and huts from clay, plant fibers, stone and bone.

• As a form of magic to overcome the animals that threatened life

The prehistoric men were hunters and dependent on animals for their survival.
However, most of these animals were wild and wild. Hunting these animals was very risky because they were hunting these animals with simple weapons, tools or tools. Because of this, the prehistoric men and women resisted a kind of practical magic called sympathetic magic or hunting magic. This hunting magic was based on the cave man's belief that there is a close band or a link between an object and its image. Therefore, everything that was done on the cartoon believed that it affects the soul of the living animal.

To achieve this, the cave man has carefully omitted some sensitive parts of the animal's images to be hunted like eyes, ears and nose. It was thought that this confused the living animal from seeing, hearing or smelling the presence of the cave man before the hunt. Sometimes arrows were drawn through the body of the image. The cave man believed that this would make the animal powerless or injured to get the animal under their control. The sympathetic magic was to make sure you managed to catch or kill the animal. New or new paintings were made for a day's hunting. This dares to the many cave paintings, engraving and sculpture.

• As a form of ritual, worship and initial rituals

The image of the animals limited on the caves or walls believed to be the object of worship on which rituals of success in hunting activities were performed. Special dances are thought to have been performed around the pictures for a good day's hunting. During initial ceremonies for young people living in these communities, images of the animals were used in the rituals.

• As a teaching tool for amateur hunters

The animal pictures served as teaching aids to instruct new hunters about the nature of the different species that they would meet when pursuing hunting. It is argued that experienced cave hunters may have used the images to point out parts of each species of animal to target the spearheads of first timers so that hunting will not be a strenuous task for them.

• As a way to record information and tell stories

Paintings and engravings of a group or animal herd were used when registering animal migrations through the transitional seasons. Some animal compositions such as the rhinoceros composition, a wounded man, and a bison found in the Lascaux cave in the Dordogne in France believed to tell of a hunt or a hero's death. Most of the compositions in the many cave paintings believed to have been the way of prehistoric man to record events and situations experienced in his hunting activities because there was no written form of recording event.

• As a fertility charm

The female sculptural figures discovered in the caves believed to be fertility goddesses responsible for birth and the fertility of the earth. An example is & # 39; Venus of Willendorf & # 39;. They span a potential fertility. Emphasis is placed on fig's reproductive characteristics: Excessive or large breasts, thighs, hips, abdomen and buttocks with small arms and legs. Scholars refer to them as & # 39; Venus & # 39; because they were considered sexual objects for the prehistoric men. Furthermore, in terms of function and form representation, they were similar to Venus, the Roman version of the Greek goddess Aphrodite, depicted as naked. These figures believed to load barren cave women with fertility. They were also consulted by rituals to ensure soil fertility when prehistoric men and women started farming during the Neolithic period.

The prehistoric men and women were great thinkers and philosophers who had powerful reasons for their creative creation which now serves as the basis of today's arts. They must be taught and appreciated.