The birth of film

The two second experimental film, Roundhay Garden Scene, filmed by Louis Le Prince on October 14, 1888 in Roundhay, Leeds, West Yorkshire, England is generally recognized as the earliest surviving motion picture .
In 1878, under the sponsorship of Leland Stanford, Eadweard Muybridge successfully photographed a horse named "Occident" in fast motion using a series of 12 stereoscopic cameras. The first experience successfully took place on June 11 at the Palo Alto farm in California with the press present. The cameras were arranged along a track parallel to the horse's, and each of the camera shutters was controlled by a trip wire which was triggered by the horse's hooves. They were 21 inches apart to cover the 20 feet taken by the horse stride, taking pictures at one thousandth of a second.[1]
At the Chicago 1893 World's Columbian Exposition, Muybridge gave a series of lectures on the Science of Animal Locomotion in the Zoopraxographical Hall, built specially for that purpose in the "Midway Plaisance" arm of the exposition. He used his zoopraxiscope to show his moving pictures to a paying public, making the Hall the very first commercial movie theater.[1]
William Kennedy Laurie Dickson, chief engineer with the Edison Laboratories, is credited with the invention of a practicable form of a celluloid strip containing a sequence of images, the basis of a method of photographing and projecting moving images.[citation needed] Celluloid blocks were thinly sliced, then removed with heated pressure plates. After this, they were coated with a photosensitive gelatin emulsion.[citation needed] In 1893 at the Chicago World's Fair, Thomas Edison introduced to the public two pioneering inventions based on this innovation; the Kinetograph, the first practical moving picture camera, and the Kinetoscope. The latter was a cabinet in which a continuous loop of Dickson's celluloid film (powered by an electric motor) was back lit by an incandescent lamp and seen through a magnifying lens. The spectator viewed the image through an eye piece. Kinetoscope parlours were supplied with fifty-foot film snippets photographed by Dickson, in Edison's "Black Maria" studio. These sequences recorded mundane events (such as Fred Ott's Sneeze, 1894) as well as entertainment acts like acrobats, music hall performers and boxing demonstrations.
Kinetoscope parlors soon spread successfully to Europe. Edison, however, never attempted to patent these instruments on the other side of the Atlantic, since they relied so greatly on previous experiments and innovations from Britain and Europe. This enabled the development of imitations, such as the camera devised by British electrician and scientific instrument maker Robert W. Paul and his partner Birt Acres.
Paul had the idea of displaying moving pictures for group audiences, rather than just to individual viewers, and invented a film projector, giving his first public showing in 1895. At about the same time, in France, Auguste and Louis Lumière invented the cinematograph, a portable, three-in-one device: camera, printer, and projector. In late 1895 in Paris, father Antoine Lumière began exhibitions of projected films before the paying public, beginning the general conversion of the medium to projection (Cook, 1990). They quickly became Europe's main producers with their actualités like Workers Leaving the Lumière Factory and comic vignettes like The Sprinkler Sprinkled (both 1895). Even Edison, initially dismissive of projection, joined the trend with the Vitascope within less than six months. The first public motion-picture film presentation in Europe, though, belongs to Max and Emil Skladanowsky of Berlin, who projected with their apparatus "Bioscop", a flickerfree duplex construction, November 1 through 31, 1895.
That same year in May, in the USA, Eugene Augustin Lauste devised his Eidoloscope for the Latham family. But the first public screening of film ever is due to Jean Aimé "Acme" Le Roy, a French photographer. On February 5, 1894, his 40th birthday, he presented his "Marvellous Cinematograph" to a group of around twenty show business men in New York City.
The movies of the time were seen mostly via temporary storefront spaces and traveling exhibitors or as acts in vaudeville programs. A film could be under a minute long and would usually present a single scene, authentic or staged, of everyday life, a public event, a sporting event or slapstick. There was little to no cinematic technique: no editing and usually no camera movement, and flat, stagey compositions. But the novelty of realistically moving photographs was enough for a motion picture industry to mushroom before the end of the century, in countries around the world.

MACHU PICCHU

La ciudad perdida de los incas

Se encuentra en los andes peruanos era de piedra, diseñaron la arquitectura era importante fue abandonada en isya, se descubrió en 1911 por sinoim. Tenían más de 600 terrojas que funcionaban para cultivar y para que la ciudad no se deslizara por la montaña en las terrosas.Fue abandonada Machu Pichu fue creado por los incas, francisco Pizarro fue el que destruyo a los incas Pacha Cuti llego al poder, inicio grandes proyectos, templos, ciudades etc. Pizarro fue encantado de descubrir el templo que era el templo del emperador de los incas, los españoles usaban armaduras y armas de fuego y los incas usaban arcas incubanbas fue abandonado a principios del siglo xx un americano encontró a el templo incubanba. Los arqueólogos comenzaron a excavar y a una semana encontraron una tumba funeraria y descubrieron cuchillos de bronces y esqueletos d4e mujeres. Vinci lee fue un arqueólogo que supo como los incas movían las piedras que pesaban toneladas.

Simón León

Mis Trabajos

Idiomas.
Ciencias Naturales y Matemática.
Ciencias Sociales.
La ciudad perdida de los incas
Educación para el Trabajo.

HORARIOS

CLASES.
ENTRETENIMIENTO.