Cant figure out why this dosent work.

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Jeff Roehl

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Oct 4, 2012, 7:51:38 PM10/4/12

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This is an "all on board" timeline. With jQuery and timeline loaded this javascript should put a timeline at:

<div id="footer"></div>

But it is not working. Probably something having to do with a misplaced quote or a wrong case in a keyword.

Can you spot where it is crashing?

How do I debug something like this (I know about Firebug and Lint)?

It is possible to create a timeline from 1 javascript program without any other files.

I have one that works and I will send it to you if you would like to look at it.

There is a lot of data, the actual timeline is at the
 bottom.

I have also attached this file.

/***********************************************************************************************************/

$('<table border=1><tr><td><div id="DIVAAR5S02M1" class="timeline-default" style="height: 550px; border-width: 2px; border-style: solid; border-color: black; text-shadow:0 0 40px #F900F9;"></div></td><td valign=top><div id="WORKAAR5S02M1"></div></td></tr></table>').insertBefore("#footer");
/**/
var datAAR5S02M1 = {'events' : [
{
'start': 'Oct 01 1727 00:00:00 GMT',
'title': 'This prejudice extended toward all printing: in 1727...',
'description': 'Although Arab culture, which so profoundly influenced a reawakened Europe, knew of Chinese printing, the refusal of its literary culture to profit from the art made Islam on the whole a barrier to the transmission of this knowledge. The logic seems to stem from ultra-conservatism: the Koran was given in handwritten form, therefore the Koran must always be written by hand. This prejudice extended toward all printing: in 1727, when permission was asked for the erection of a printing press at Constaniople, the Ulema under Sultan Ahmed III delivered a verdict that it was against the religion and honor of Islam to allow the printing of the Koran, because the Koran rested upon written tradition, and must in no other way be handed down. Permission was granted for other printing, though when in 1729 a history of Egypt appeared, such public opposition was aroused that until 1825 no further printing was attempted in the Islamic world. Islamic countries thus began a slow, inevitable slide away from their former technological and philosophical ascendance. The processes of engraving (c. 1460) and lithography (1796) were deemed acceptable for non-religious works, but the Koran itself could properly speaking only be copied by hand in single editions. Thus, though trade and commerce flourished between the Arab world and China, books in Arabic were never printed. Penetration of printing technology was left to the spread of the Mongols from the East and the Crusaders from the West. <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=SPR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Nov 01 1392 00:00:00 GMT',
'title': 'The type mold--and with it the use of cast metal type--was...',
'description': 'The time was right, travellers and traders in plenty went back and forth, but there is no evidence that moveable type or type-casting technology spread from the Orient to the Occident. Movable type did not catch on in the East for the simple reason that as many as 30,000 Chinese ideograms are needed--some much more than others--so that a complete font might run to the hundreds of thousands of discrete elements. It is simpler just to cut a block with all the characters on it for each separate page. Movable type made from clay and later from tin was invented by Pi Sheng (1041-1048), but does not seem to have survived his demise. Movable type made from wood appeared in China, c. 1313, but again left no lasting impression. The type mold--and with it the use of cast metal type--was invented in Korea in 1392 and used extensively, but there is no evidence of technological transfer.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=FQR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1406 00:00:00 GMT',
'end': 'Jan 01 1468 00:00:00 GMT',
'title': 'The printing press, movable type...',
'description': 'The printing press, movable type, the type mold, and the invention of printing ink for use on metal are all attributed to Johannes Gutenberg (1394? 1406? -1468). The completed process appears in the form of the famous 42-line Bible of 1455 in Mainz, Germany.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=NQR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1455 00:00:00 GMT',
'title': 'The completed process appears in the form of the famous 42-line...',
'description': 'The printing press, movable type, the type mold, and the invention of printing ink for use on metal are all attributed to Johannes Gutenberg (1394? 1406? -1468). The completed process appears in the form of the famous 42-line Bible of 1455 in Mainz, Germany.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=NQR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1370 00:00:00 GMT',
'end': 'Jan 01 1440 00:00:00 GMT',
'title': 'Gutenberg took advantage of the existing technology of oil...',
'description': 'Water-based Chinese ink is not suitable for taking impressions from metal. It "crawls," that is, it stands in globules on the metal surface and makes a rough impression. The first typographers of Europe, faced with this problem, solved it by using an ink whose pigment was dissolved in oil. Gutenberg took advantage of the existing technology of oil paints, which came into general use after they were perfected and popularized by the Flemish painter Jan Van Eyck (1370? - 1440?). Little modification was needed to turn oil paint into printing ink. <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=RQR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Dec 01 1438 00:00:00 GMT',
'title': 'One Konrad Saspach, a wood turner...',
'description': 'The printing press used by Gutenberg was a clever adaptation of the screw mechanisms available in the wine press, the papermaker"s press and the common linen press. One Konrad Saspach, a wood turner, was commissioned to begin building a press for Gutenberg after the death in December 1438 of Andreas Dritzehen, one of Gutenberg"s early partners. The form of the first printing press, which did not change in essence for nearly four hundred years, must have resulted from a series of experiments by Gutenberg and Saspach, and by printers in the next few decades. (Moran, 21)<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=XQR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1426 00:00:00 GMT',
'end': 'Jan 01 1464 00:00:00 GMT',
'title': 'The process of engraving as a printing method is attributed to...',
'description': 'The goldsmiths of Florence in the middle of the 15th century were in the habit of ornamenting their works by means of engraving, after which they filled up the hollows produced by the burin with a black enamel made of silver, lead and sulphur, the result being that the design was rendered much more visible by the contrast between the metal and the enamel. An engraved design filled up in this manner was called a niello. Before this laborious and essentially irreversible process was resorted to, a "smoke-proof" was obtained by filling the lines with lampblack. At a slightly later time it was discovered that a printed proof could be taken on damped paper by filling the engraved lines with ink and wiping the excess off the surface, then pressing the paper against the engraved lines, thus transferring the design to the paper. The metal engravers, however, saw no further than this. The process of engraving as a printing method is attributed to Maso Finiguerra (1426-1464) of Florence, who developed the technique of copperplate line engraving around 1460. The few good copies obtainable before the plate became badly worn limited its utility, and it was not until the time of the German Albrecht Dürer (1471-1528), who is regarded as the inventor of etching, that engraving on metal became an established method of printing images in useful quantity. In an etching, the plate is coated with an acid-resistant ground, the ground is partially removed with etching tools, and the exposed areas are then bitten with acid. The etched lines are then printed in the same manner as an engraving.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=BRR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1471 00:00:00 GMT',
'end': 'Jan 01 1528 00:00:00 GMT',
'title': 'The few good copies obtainable before the plate became badly...',
'description': 'The goldsmiths of Florence in the middle of the 15th century were in the habit of ornamenting their works by means of engraving, after which they filled up the hollows produced by the burin with a black enamel made of silver, lead and sulphur, the result being that the design was rendered much more visible by the contrast between the metal and the enamel. An engraved design filled up in this manner was called a niello. Before this laborious and essentially irreversible process was resorted to, a "smoke-proof" was obtained by filling the lines with lampblack. At a slightly later time it was discovered that a printed proof could be taken on damped paper by filling the engraved lines with ink and wiping the excess off the surface, then pressing the paper against the engraved lines, thus transferring the design to the paper. The metal engravers, however, saw no further than this. The process of engraving as a printing method is attributed to Maso Finiguerra (1426-1464) of Florence, who developed the technique of copperplate line engraving around 1460. The few good copies obtainable before the plate became badly worn limited its utility, and it was not until the time of the German Albrecht Dürer (1471-1528), who is regarded as the inventor of etching, that engraving on metal became an established method of printing images in useful quantity. In an etching, the plate is coated with an acid-resistant ground, the ground is partially removed with etching tools, and the exposed areas are then bitten with acid. The etched lines are then printed in the same manner as an engraving.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=BRR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1735 00:00:00 GMT',
'end': 'Jan 01 1785 00:00:00 GMT',
'title': 'Kiomitsu (1735-1785) produced polychrome prints...',
'description': 'Learned from the Chinese, woodblock printing flowered in Japan during the Edo period (1635-1867). The ukio-e (transitory world) print celebrated the life of the pleasure quarters of Edo. Hishikawa Moronobu (1618-1694) was the first artist to design and print monochrome single-sheet woodblock prints. Kiomitsu (1735-1785) produced polychrome prints, and the work of his pupil Torii Kiohiro (fl. 1737-1776) continued the experimentation. In 1741, a color printing process was invented, and in 1745 the publisher Kichiemon Kamimura introduced the kento, or registration mark, to woodblock printing. <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=LRR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jul 01 1741 00:00:00 GMT',
'title': 'In 1741, a color printing process was invented...',
'description': 'Learned from the Chinese, woodblock printing flowered in Japan during the Edo period (1635-1867). The ukio-e (transitory world) print celebrated the life of the pleasure quarters of Edo. Hishikawa Moronobu (1618-1694) was the first artist to design and print monochrome single-sheet woodblock prints. Kiomitsu (1735-1785) produced polychrome prints, and the work of his pupil Torii Kiohiro (fl. 1737-1776) continued the experimentation. In 1741, a color printing process was invented, and in 1745 the publisher Kichiemon Kamimura introduced the kento, or registration mark, to woodblock printing. <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=LRR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jul 01 1796 00:00:00 GMT',
'title': 'Lithography (stone writing)...',
'description': 'Lithography (stone writing), based on the simple principle that oil and water won"t mix, was invented by the Bavarian, Aloys Senefelder, in 1796. Its first application was in the printing of music, theretofore done at great labor and expense by copperplate engraving. From the freedom of expression inherent in the medium, the new process stimulated the wildest variety of typographic fancies. Chromolithography, the printing of multiple colors in tight register, was developed and named by M. Godefroi Engelman of MŸlhausen in 1837. Jules Cheret, called the father of the poster, improved upon this process and reduced the number of colors--usually to three--by printing with spatter tints. The combination of Cheret"s formal training as a lithographic printer and the influence of Japanese woodblock prints of the ukio-e combined in 1866 to revolutionize the manner in which commercial images were presented to the public.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=SRR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Feb 01 1837 00:00:00 GMT',
'title': 'Chromolithography, the printing of multiple colors in tight...',
'description': 'Lithography (stone writing), based on the simple principle that oil and water won"t mix, was invented by the Bavarian, Aloys Senefelder, in 1796. Its first application was in the printing of music, theretofore done at great labor and expense by copperplate engraving. From the freedom of expression inherent in the medium, the new process stimulated the wildest variety of typographic fancies. Chromolithography, the printing of multiple colors in tight register, was developed and named by M. Godefroi Engelman of MŸlhausen in 1837. Jules Cheret, called the father of the poster, improved upon this process and reduced the number of colors--usually to three--by printing with spatter tints. The combination of Cheret"s formal training as a lithographic printer and the influence of Japanese woodblock prints of the ukio-e combined in 1866 to revolutionize the manner in which commercial images were presented to the public.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=SRR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1826 00:00:00 GMT',
'title': 'In 1826 he learned that Louis Jacques Mandé Daguerre (1789-1851)...',
'description': 'Photography (light writing) originates with the camera obscura (dark box), the principles of which seem to have been well understood by Euclid in his Optics (300 BC) and in Aristotle"s (384-322 BC) Problems. Few allusions to the phenomena described in these books occur in later classical writers, and the first scientific investigation occurs in the great optical treatise of the Arabian philosopher Alhazen (d. Cairo 1038) Various observations from 1782 through 1802 on the photoreactive properties of silver chloride, silver nitrate and ammonia led the Englishman, Thomas Wedgewood, (1771-1805) to produce an actual photograph, which, however, he could not preserve. The first to create a photograph that was subsequently unaffected by light was the Frenchman, Nicéphore de Niepce, (1765-1833) in 1827. Niepce had from 1811 devoted himself to the rising art of lithography, and in 1813 the idea of obtaining sun pictures occurred to him in this connection. In 1826 he learned that Louis Jacques Mandé Daguerre (1789-1851) was working along similar lines, and formed with him a partnership. After Niepce"s death, Daguerre improved upon the process, lending his name to the Daguerrotype. The photographic print was created by William Henry Fox Talbot (1800-1877), who in January of 1839 described the first of his inventions and discoveries in a paper to the Royal Society.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=ASR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1800 00:00:00 GMT',
'end': 'Jan 01 1877 00:00:00 GMT',
'title': 'The photographic print was created by William Henry Fox Talbot...',
'description': 'Photography (light writing) originates with the camera obscura (dark box), the principles of which seem to have been well understood by Euclid in his Optics (300 BC) and in Aristotle"s (384-322 BC) Problems. Few allusions to the phenomena described in these books occur in later classical writers, and the first scientific investigation occurs in the great optical treatise of the Arabian philosopher Alhazen (d. Cairo 1038) Various observations from 1782 through 1802 on the photoreactive properties of silver chloride, silver nitrate and ammonia led the Englishman, Thomas Wedgewood, (1771-1805) to produce an actual photograph, which, however, he could not preserve. The first to create a photograph that was subsequently unaffected by light was the Frenchman, Nicéphore de Niepce, (1765-1833) in 1827. Niepce had from 1811 devoted himself to the rising art of lithography, and in 1813 the idea of obtaining sun pictures occurred to him in this connection. In 1826 he learned that Louis Jacques Mandé Daguerre (1789-1851) was working along similar lines, and formed with him a partnership. After Niepce"s death, Daguerre improved upon the process, lending his name to the Daguerrotype. The photographic print was created by William Henry Fox Talbot (1800-1877), who in January of 1839 described the first of his inventions and discoveries in a paper to the Royal Society.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=ASR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1852 00:00:00 GMT',
'end': 'Jan 01 1886 00:00:00 GMT',
'title': 'The techniques necessary to this matured between 1852 and 1886...',
'description': 'The invention of line process stimulated the invention of the half-tone process, in which an image is broken up into myriad tiny dots by the passage of light through a half tone screen, and thence to a negative from which a letterpress cut or lithographic plate can be made, and the image then printed at the same time as the text. The techniques necessary to this matured between 1852 and 1886, mostly in the development of suitable glass screens.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=NSR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1861 00:00:00 GMT',
'title': 'In 1861, James Clerk Maxwell (Scottish...',
'description': 'In 1861, James Clerk Maxwell (Scottish, 1831-1879) suggested that objects could be reproduced in their natural colors by superimposing the three primary colors. Various experiments in separating images for printing by means of colored filters resulted in the first three-color blocks for letterpress printing, which were developed by F. E. Ives, of Philadelphia, in 1881.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=QSR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Feb 01 1881 00:00:00 GMT',
'title': 'Various experiments in separating images for printing by means...',
'description': 'In 1861, James Clerk Maxwell (Scottish, 1831-1879) suggested that objects could be reproduced in their natural colors by superimposing the three primary colors. Various experiments in separating images for printing by means of colored filters resulted in the first three-color blocks for letterpress printing, which were developed by F. E. Ives, of Philadelphia, in 1881.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=QSR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1834 00:00:00 GMT',
'end': 'Jan 01 1885 00:00:00 GMT',
'title': 'They are Woodburytype (Walter Woodbury...',
'description': 'Three major 19th century planographic (flat surfaced) printing processes, all dependent on photography and utilizing the nature of colloids, were for a time important. They are Woodburytype (Walter Woodbury, English, 1834 - 1885); Stenotype and Collotype. Woodbury type and Stenotype utilized delicate photographic molds, which were inked and impressed on paper so as to reproduce varying degrees of light and shadow reflecting the depth of the cast.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=USR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jul 01 1870 00:00:00 GMT',
'title': 'Collotype or photogelatin printing was invented in 1870 by...',
'description': 'Collotype or photogelatin printing was invented in 1870 by Joseph Albert of Munich. Collotype produced admirable color images without the use of screens (screenless printing is called continuous tone, somewhat like a photograph), and was for a time used in the production of color postcards, point-of-purchase displays and high-quality reproductions of fine art. Collotype was a viable method of printing as late as 1990.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=YSR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jun 01 1990 00:00:00 GMT',
'title': 'Collotype was a viable method of printing as late as 1990.',
'description': 'Collotype or photogelatin printing was invented in 1870 by Joseph Albert of Munich. Collotype produced admirable color images without the use of screens (screenless printing is called continuous tone, somewhat like a photograph), and was for a time used in the production of color postcards, point-of-purchase displays and high-quality reproductions of fine art. Collotype was a viable method of printing as late as 1990.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=YSR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jun 01 1906 00:00:00 GMT',
'title': 'The rubber blanket, a final step in the evolution of lithography...',
'description': 'The rubber blanket, a final step in the evolution of lithography, was introduced in Chicago in 1906. This allowed a significant reduction in the pressure of printing from a zinc or aluminum lithographic plate, as the plate touched the rubber blanket with only enough pressure to transfer the image, and from thence the blanket transferred the now reversed image to the paper, again, with only a "kiss" impression. These three inventions, over the period of a century, contributed their names to photo-offset-lithography.<a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=GTR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jul 01 1923 00:00:00 GMT',
'title': 'The spirit duplicator was invented in 1923 by Wilhelm Ritzerfeld...',
'description': 'The spirit duplicator was invented in 1923 by Wilhelm Ritzerfeld, founder of the Ormig Company in Germany. The spirit duplicator master consisted of a smooth paper master sheet and a paper sheet, coated with a waxy compound similar to that used in the hektograph, acting backwards so that the wax compound was transferred to the back side of the master sheet itself. The master could be typed or written on, and when finished the waxy paper original was discarded. The master was wrapped around a drum in the spirit duplicator machine. As the drum turned, the master was coated with a thin layer of highly volatile duplicating fluid via a wick soaked in the fluid. The fluid acted to slightly dissolve or soften the dye. As paper (preferably calendered or coated) pressed against the drum and master copy, some of the image was transferred to make the final copy. A spirit duplicator master was capable of making up to 500 copies before the print became too faint to recognize. <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=IUR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'May 01 1887 00:00:00 GMT',
'title': 'The mimeograph (copy writer) was invented in 1887 by the...',
'description': 'The mimeograph (copy writer) was invented in 1887 by the American, Thomas Alva Edison (1847-1931). It is a duplicating process by which a waxed stencil is typed or written upon, thus opening avenues for ink to penetrate. The stencil is then fitted around an inked drum, which when rotated transfers the image to paper. Inexpensive and highly accessible, the mimeograph was a staple of propagandists through the mid-1960s. After purchasing the rights to Edison"s process of making stencils, in 1887 the A. B. Dick company began selling copying equipment under the trade name "Edison"s Mimeograph." The device made copies of hand-drawn stencils one at a time on a flat bed duplicator. By the time Dick began selling the device, the Gestetner company in England was already selling a similar machine called the cyclostyle, but mimeograph became the generic term. <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=RUR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Jan 01 1960 00:00:00 GMT',
'end': 'Jan 01 1970 00:00:00 GMT',
'title': 'Inexpensive and highly accessible...',
'description': 'The mimeograph (copy writer) was invented in 1887 by the American, Thomas Alva Edison (1847-1931). It is a duplicating process by which a waxed stencil is typed or written upon, thus opening avenues for ink to penetrate. The stencil is then fitted around an inked drum, which when rotated transfers the image to paper. Inexpensive and highly accessible, the mimeograph was a staple of propagandists through the mid-1960s. After purchasing the rights to Edison"s process of making stencils, in 1887 the A. B. Dick company began selling copying equipment under the trade name "Edison"s Mimeograph." The device made copies of hand-drawn stencils one at a time on a flat bed duplicator. By the time Dick began selling the device, the Gestetner company in England was already selling a similar machine called the cyclostyle, but mimeograph became the generic term. <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=RUR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Nov 01 1887 00:00:00 GMT',
'title': 'After purchasing the rights to Edison"s process of making...',
'description': 'The mimeograph (copy writer) was invented in 1887 by the American, Thomas Alva Edison (1847-1931). It is a duplicating process by which a waxed stencil is typed or written upon, thus opening avenues for ink to penetrate. The stencil is then fitted around an inked drum, which when rotated transfers the image to paper. Inexpensive and highly accessible, the mimeograph was a staple of propagandists through the mid-1960s. After purchasing the rights to Edison"s process of making stencils, in 1887 the A. B. Dick company began selling copying equipment under the trade name "Edison"s Mimeograph." The device made copies of hand-drawn stencils one at a time on a flat bed duplicator. By the time Dick began selling the device, the Gestetner company in England was already selling a similar machine called the cyclostyle, but mimeograph became the generic term. <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=RUR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
'durationEvent': true,
'textColor': 'black'
},
{
'start': 'Nov 01 1840 00:00:00 GMT',
'title': 'The Cyanotype was developed in the 1840"s...',
'description': 'The blueprint process, also called cyanotype, is still in use, though its day as a commercial process is passing. The Cyanotype was developed in the 1840"s, and is part of a group of processes that include the palladium print, the platinotype and the kallitype. The common element is that these are all iron salt processes. Iron-salt processes basically work like this: All ferric(iron) salts, when combined with organic substances, become sensitive to light. A commonly used mixture is ferric ammonium citrate and potassium ferricyanide. Exposure to actinic light breaks down the iron compound by oxidation, thereby releasing carbon in the form of carbonic acid. The exposed print is then immersed in water, causing a reaction between the new compound (peroxide iron salt) and the potassium ferricyanide. Thus formed is a deep-blue compound (ferroprussiate). <a href="javascript:void(0)" onclick="showCustomer(\'tl=AAR5S02M1&para=ZUR5S02M1&todo=edpara\',\'WORKAAR5S02M1\')"> Edit</a>',
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'start': 'Mar 01 1914 00:00:00 GMT',
'title': 'A multicolor method was developed by John Pilsworth of San...',
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'start':'Jan 01 2002 00:00:00 GMT',
'caption':'Howard Jones served as Killswitch Engage\'s primary vocalist following Jesse Leach\'s departure from 2002 until 2012.',
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'start':'Sep 01 2007 00:00:00 GMT',
'caption':'Killswitch Engage at Rock im Park in 2007.',
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