Instruct: Given a question, retrieve passages that can help answer the question.
Query: When was glass first created?
The history of glass-making dates back to at least 3600 years ago in Mesopotamia. However, they may have been producing second-rate copies of glass objects from Egypt, where this complex craft originated.[1] Other archaeological evidence suggests that the first true glass was made in coastal north Syria, Mesopotamia or Egypt.[2] The earliest known glass objects, of the mid second millennium BC, were beads, perhaps initially created as the accidental by-products of metal-working (slags) or during the production of faience, a pre-glass vitreous material made by a process similar to glazing.[n 1] Glass products remained a luxury until the disasters that overtook the late Bronze Age civilizations seemingly brought glass-making to a halt.
The stained glass windows of Bryn Athyn Cathedral are worthy of note. The medieval method of creating stained glass, namely of melting various pigment and metallic oxides into the glass itself and then having a glass blower create a disk of glass with varying degrees of thickness and brightness, was revived. The first glass was blown in 1922 and the last was created in the 1940s, however all the windows themselves were not completed till the 1960s. The windows are essentially of three designs:
Planning of IIRG began in 1996, spurred on by the "international rating" achieved in the last Research Assessment Exercise, where glass research received a special mention. Research funding was won from various sources, and two full-time professorial posts in Glass were created, which were taken up by Dan Klein and Zora Palova. IIRG was launched in June 1998 to compliment the National Glass Centre, which was opened in October of the same year by HRH Prince Charles. IIRG was the first research centre of the Art and Design faculty of the University of Sunderland. Professor Sylva Petrova, formerly curator of 20th Century Glass at the Museum of Decorative Arts in Prague and Deputy Director of the museum, became IIRG's first director. When Petrova retired in 2012, she was succeeded by Dr. Kevin Petrie.IIRG researches, publishes, and provides lectures about a wide range of glass topics. It facilitates research of new glass methods and technologies and encourages academic work on contemporary and historical glass.
The first instance of a self-cleaning surface was created in 1995.[1] Paz et al. created a transparent titanium dioxide (TiO2) film that was used to coat glass and provide the ability for the glass to self-clean. The first commercial application of this self-cleaning surface, Pilkington Activ, was developed by Pilkington glass in 2001. This product implements a two-stage cleaning process. The first stage consists of photocatalysis of any fouling matter on the glass. This stage is followed by the glass becoming superhydrophilic and allowing water to wash away the catalyzed debris on the surface of the glass. Since the creation of self-cleaning glass, titanium dioxide has also been used to create self-cleaning nanoparticles that can be incorporated into other material surfaces to allow them to self-clean.[2]
Hans Godo Frabel is one of the very first lampwork glass artists in the world. He turned the technique of "working at the lamp" to an art form back in 1968, when he opened the Frabel Studio in Atlanta, Georgia. At that time crystal glass was not considered a serious art medium and few artists were utilizing the beauty and diversity of glass to create unique art pieces.
In 1985, he created a large stained glass window for a private client. In the same year, he was selected as one of two Australian artists to represent Australian glass artists at the Sydney Craft Expo. His first major piece, also in 1985, a commissioned stained glass window, was a memorial to the Royal New South Wales Regiment for the Garrison Church, in The Rocks, Sydney. In 1988, Plowright created one of the country's then-largest stained glass windows, installed in Galston Uniting Church. Another significant work was an 11 x 3m stained glass window, commissioned by St Bernadette's in Castle Hill, New South Wales. His large stained glass piece "The Gathering of the Most Sacred" was created for an exhibition for the World Council of Churches in 1990. This piece and "Living Waters" were also exhibited at the Penrith Regional Gallery and the Lewers Bequest Glass Show in 1991.
In 1998, Paley was invited to the Pilchuck Glass School for a summer residency. While there, Paley created a mass of glass elements that would be used in later sculptures in Rochester. Paley did another glass residency in 2014 with the Corning Museum of Glass located in Corning, New York. He worked there for a year, where he practiced furnace-working and cast Corning Code 7056, a specific type of glass that can form bonds with a metal alloy called Kovar. Paley chose this specific glass blend because of its similar properties to that of Kovar, which allowed him to create pieces that fused the glass and metal with each other. The first exhibition to focus on Paley’s combining of glass and steel, "Complementary Contrasts: The Glass and Steel Sculptures of Albert Paley" at Museum of Glass will take place during the 2017 - 2018 season, and will display a collection of pieces spanning Paley's work with glass.
Dichroic glass is a very popular choice with glass artists today, especially so when creating marbles, because of its properties of having more than one color and when viewed from different angles, has a sparkle effect, much like a cut gemstone. Dichroic glass is actually a product created by the space industry, and was first used as an interference filter for precise scientific measuring. To create this effect, glass artists use a thin layer of metallic oxides including magnesium, silicon and titanium at high temperatures. This style of marble was invented by Geoffrey Beetem circa 1989 and are called Stardust Marbles. First publication was by Marilyn Barrett in 1994, Dr. Morito 1996, Glass magazine in 2000, and in Marbles and Related Art Glass, by Mark P. Block also in 2000.
During glass mastering, glass is used as a substrate to hold the CD master image while it is created and processed; hence the name. Glass substrates, noticeably larger than a CD, are round plates of glass approximately 240 mm in diameter and 6 mm thick. They often also have a small, steel hub on one side to facilitate handling. The substrates are created specially for CD mastering and one side is polished until it is extremely smooth. Even microscopic scratches in the glass will affect the quality of CDs pressed from the master image. The extra area on the substrate allows for easier handling of the glass master and reduces risk of damage to the pit and land structure when the "father" stamper is removed from the glass substrate. 
Little has been done to develop the product since its patent. It is labor-intensive and has a high cost. Only large commercial glass factories produce it. In the 1980s photosensitive glass was created to a small degree to be used in "hot glass" work. Then individual artists owned smaller studios and created works in blown glass and began experimenting with photosensitive glass. Going into the Twenty-First Century only a few glass artists know the technique of achieving good results with photosensitive glass.
In the present time, the only photosensitive glasses produced are PhotoCor(R), Foturan and APEX. PhotoCor is produced by the inventor, Corning, Inc. Foturan is produced by SCHOTT Corporation and APEX by Life Bioscience. Photosensitive glass has been used as a holographic material to record diffractive optical elements for high power laser applications.
According to art historian Martha Drexler Lynn, "Labino had a life-long love of tools, inventing and problem-solving which he coupled with a passion for artistic endeavors..." His interest in blowing glass began in the 1930s, when he ran the Owens-Illinois milk bottling plant. There he had a laboratory in which he created glass formulas. In 1940, his predecessor at the plant, Ben Alderson, showed Labino how to blow glass. Labino later blew glass as a hobby; at Johns-Manville he built a home glass furnace at which to pursue the craft. An early project was a glass paperweight that he created in 1958 for a friend's retirement. By 1960 he had melted a batch of glass and created a primitive blowpipe.
Laminated glass is manufactured by bonding two or more layers of glass together with an interlayer, such as PVB, under heat and pressure, to create a single sheet of glass. When broken, the interlayer keeps the layers of glass bonded and prevents it from breaking apart. The interlayer can also give the glass a higher sound insulation rating.
Chetkov was Chief Glass Artist of the First Communist Volunteer Corps 1BBW (1КДО) Glass Factory in Malaya Vishera from 1967-1979. Chetkov was a highly creative and passionate glass artist who developed the factory's output and frequently experimented with different finishes and techniques, including Venetian techniques. He stated, "Working with glass is enchanting, it carries you away, liberates your fantasy; the artist becomes a magician when he creates an object from a shapeless hot paste… Glass gave fire to my soul, and it left a deep burn in it.". His art glass was exhibited around the world from the 1970s onwards, but under the umbrella of ‘artist of the Soviet Union’ rather than under his own name.
Though he was working at regaining his skill, Keth was unaware of one of the side-effects of the lightning strike that first debilitated him. Along with the physiological damage, the lightning turned Keth's seed of glass magic into a mixture of glass and lightning magic. The change in his abilities as a mage passed Keth by until it was discovered by a traveling mage, Trisana Chandler, when she saw him at the center of a large, accidental magical working; Keth was attempting to create a glass vase, when his untrained magic drew in spells from all around the neighborhood, which mixed with the glass and a seed of lightning to create a living creature, a dragon made of glass, with lightning blood. 
In 1961, Riedel Crystal introduced the first full line of wine glasses created for different wines. Riedel perfected these variety-specific wine glasses in 1973 with the introduction of his most notable glass collection, the Sommeliers Series, the world’s first gourmet glasses.
In 1935, Arch Glass Mainous was first in line to file for the name "First Federal Savings and Loan", a mutual (depositor owned) association that was approved by the US Federal Savings and Loan Act created under the New Deal. He served as its Chairman for the remainder of his life. The Savings and Loan continued in operation until the early 2000s when it was closed.
Littleton would go on to found the first fine art glass program at the University of Wisconsin–Madison. Here Labino provided further valuable assistance. When the University of Wisconsin-Madison accepted Littleton's proposal to create a graduate glassblowing program in its fine art department, it did so with the stipulation that funds from outside the university be provided to purchase the equipment. Labino arranged for Johns-Mansville to donate $1000 and 2,400 pounds of #475 glass marbles to the program. Littleton's students and fellow glass pioneers, Marvin Lipofsky and Dale Chihuly, respectively founded the glass program at the University of California at Berkeley in 1964 and initiated the glass program at the Rhode Island School of Design in 1969.
A Jäger-train is a theatrical method for preparing the drinks when multiple Jägerbombs have been ordered. Glasses of Red Bull are lined up, and an empty glass is placed at one end. Shot glasses of Jägermeister are then balanced on the lips of the glasses. The first shot glass (which is on the empty-glass end) is pushed over; it falls into the Red Bull in the next glass and—if the glasses are correctly positioned—it will simultaneously knock over the next shot glass, thus a domino effect will be created, causing each shot glass to fall into a glass of Red Bull. In order for the trick to work, the shot glasses need to be tall enough (or drink glasses narrow enough) so that one shot glass knocks over the next shot glass in the line. The train can also be arranged into a Jäger-ring that completes itself.
John Littleton (born 1957) and Kate Vogel (born 1956) are American studio glass artists who have worked collaboratively since 1979. They are considered to be among the third generation of American Studio Glass Movement artists who trace their roots to the work of Harvey Littleton in the 1960s. John Littleton, the youngest child of Harvey Littleton, grew up in the shadow of his father's accomplishments in Madison, Wisconsin, where he experienced first-hand the personalities and events of the early glass movement. Glass, however, was not John Littleton's first medium of choice when it came time for him to select a career. It was only after majoring in photography at the University of Wisconsin–Madison that he began to create in glass. He soon formed a collaborative partnership with another art student, Kate Vogel, who had exchanged her study of two dimensional art for glass. The artists' earliest collaborations in glass were the bag forms for which they are well-known today. Since 2000 their work has included a series of arms and hands cast in amber-colored glass. Over the years the hands have held various objects, including river stones, large faceted glass "jewels", and colorful cast glass leaves. In recent years Littleton and Vogel have also become known for their series of functional glass and wrought iron side tables.
Alternatively, small pieces of refractory brick can be eroded by the molten glass from the internal walls of the furnace during processing and become embedded in the finished glass. These are also known as "stones", and can also break the glass when the glass is heated, as they create thermal anomalies.
A Jäger-train is a theatric method for preparing the drinks when multiple "Bombs" have been ordered.
Glasses of the mixer are lined up, and an empty glass is placed at one end. Shot glasses of Jägermeister are then balanced on the lips of the glasses. The first shot glass (which is on the empty-glass end) is pushed over; it falls into the mixer in the next glass and — if the glasses are correctly positioned — it will simultaneously knock over the next shot glass. A domino effect will be created, causing each shot glass to fall into a glass of the mixer.
Peking glass is an overlay carved glass created by layering material around a core, similar to Cameo glass. To create the overlay, a glass blower makes the shape, then dips the shape into a basin of liquid glass several times. This process creates multiple layers of glass that are then carved away to produce a textured image. Peking glass is often made with different colored layers of glass, creating contrast when the outer layers are carved away. Historically, many pieces of Peking glass were made with yellow glass (dubbed "Imperial Yellow") due to the colors' strong association with the Qing Imperial clan of Aisin Gioro.
In the formation of a glass-ceramic-to-metal seal, the parts to be joined are first heated, normally under inert atmosphere, in order to melt the glass and allow it to wet and flow into the metal parts, in much the same way as when preparing a more conventional glass-to-metal seal. The temperature is then normally reduced into a temperature regime where many microscopic nuclei are formed in the glass. The temperature is then raised again into a regime where the major crystalline phases can form and grow to create the polycrystalline ceramic material with thermal expansion characteristics matched to that of the particular metal parts.
In the beginning of his career, Tiffany used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked. When he was unable to convince fine glassmakers to leave the impurities in, he began making his own glass. Tiffany used opalescent glass in a variety of colors and textures to create a unique style of stained glass. He developed the "copper foil" technique, which, by edging each piece of cut glass in copper foil and soldering the whole together to create his windows and lamps, made possible a level of detail previously unknown. This can be contrasted with the method of painting in enamels or glass paint on colorless glass, and then setting the glass pieces in lead channels, that had been the dominant method of creating stained glass for hundreds of years in Europe.
Heated glass is a resistance heater created when a transparent, electrically conductive coating is applied to float glass and then subjected to an electric current. The electric current in the coating creates heat energy, which warms the glass until the glass radiates heat.