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簡介：164ABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYSEANFJOHNSTONIDISCUSSTHEEARLYHISTORYOFHOLOGRAPHYANDEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFTHESUBJECTWERESHAPEDBYPRIOREXPERIENCEIFOCUSONTHEWORKOFDENNISGABOR1900–1979INENGLAND,YURYNDENISYUKB1924INTHESOVIETUNION,ANDEMMETTNLEITH1927–2005ANDJURISUPATNIEKSB1936INTHEUNITEDSTATESISHOWTHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANASSOCIATIONTHATINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THEUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SKEYWORDSDENNISGABORYURYNDENISYUKGABRIELLIPPMANNEMMETTNLEITHJURISUPATNIEKSHOLOGRAPHYPHOTOGRAPHYSTEREOSCOPYARTWAVEFRONTRECONSTRUCTIONINTRODUCTIONTHEEMERGENCEOFNEWSUBJECTSINSCIENCEANDTECHNOLOGYISSELDOMANEUTRALPROCESSINSOCIETYHISTORIANSHAVELONGRECOGNIZEDTHATSCIENCE,TECHNOLOGY,ANDCULTUREAREINTERLINKED,BUTGENERALIZATIONSABOUTTHEIRRELATIONSHIPSHAVETENDEDTOREMAINCONTENTIOUSBECAUSETHESTRENGTHANDDIRECTIONOFTHEIRMUTUALINFLUENCESHAVEBEENDISPUTEDCASEBYCASEWHILESOMEWORKINTHEHISTORYOFSCIENCEHASFOCUSEDONTHEEVOLUTIONOFNEWSUBJECTS,RELATIVELYFEWSTUDIESHAVEEXPLOREDDIRECTLYHOWTHISPROCESSISINFLUENCEDBYPREEXISTINGTECHNOLOGIES1IDISCUSSTHEHISTORYOFHOLOGRAPHYANDPHOTOGRAPHYTOEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFNEWSUBJECTSCANBESHAPEDSTRONGLYBYPRIOREXPERIENCEIARGUETHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANDTHATTHISASSOCIATIONINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THISUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINPHYSPERSPECT82006164–18814226944/06/020164–25DOI101007/S0001600602648SEANJOHNSTONISSENIORLECTURERINSCIENCESTUDIESATTHEUNIVERSITYOFGLASGOWHISRESEARCHFOCUSESONTHEHISTORYOFMODERNPHYSICS,TECHNOLOGY,ANDPROFESSIONALCOMMUNITIESBIRKH?USERVERLAG,BASEL,200603_JOHNSTON_2642042006810UHRSEITE164SEANFJOHNSTONPHYSPERSPECT166EXAMPLE,GORDONLROGERSB1916,GABOR’SCLOSESTCOLLABORATORINTHEFIELD,REPORTEDTOACOLLEAGUEONSEPTEMBER2,1952,THAT“BYNOWSEVERALPEOPLEHAVETAKENTHESNAGSOUTOFTHEORIGINALDRAFTOFTHEBOOKCHAPTERGABORHASWRITTEN,ANDHISCLAIMSARENOWMUCHMOREMODESTANDREASONABLEISTILLFEEL,HOWEVER,THATTHEYARENOTVERYHELPFUL,THOUGHTHEYARENOLONGERUNSOUND”3SIMILARLY,MAXBORN1882–1970HADWRITTENTOGABORONFEBRUARY21,1951,THAT“IHAVEREADMOREOFYOURMSANDITHINKTHATYOURCONSIDERATIONSAREMOSTINGENIOUSBUTICANATTHESAMETIMENOTCONCEALTHATTHEYALWAYSSEEMTOMEALITTLEWEIRD,ANDPRICKLEMYPHYSICALSENSITIVITIES”4GABOR’SCRITICSDEFINEDTHENATURE,BOUNDARIES,ANDPROBLEMSOFWAVEFRONTRECONSTRUCTIONBYVIEWINGITASANEWFORMOFMICROSCOPY,ANIMAGINGTECHNIQUEAPPLIEDTOMICROSCOPICOBJECTSTHEREAREATLEASTFOUREXPLANATIONSFORTHISPERCEPTUALPIGEONHOLINGFIRST,GABOR’SCONCEPTIONHADBEGUNWITHTHEPROBLEMSHEPERCEIVEDWEREINVOLVEDINELECTRONMICROSCOPYSECOND,THEHYBRIDSYSTEMTHATHEDUBBEDTHE“HOLOSCOPE”HADFORMALSIMILARITIESTOEARLIERCONCEPTSINTHEDESIGNOFOPTICALINSTRUMENTS,INPARTICULAR,FIG1DENNISGABOR1900–1979INMIDDLEAGECREDITCOURTESYOFTHEMASSACHUSETTSINSTITUTEOFTECHNOLOGYMUSEUM,CAMBRIDGE,MASSACHUSETTS03_JOHNSTON_2642042006810UHRSEITE166

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簡介：2000單詞，單詞，11萬英字符，萬英字符，3570漢字漢字出處出處JOHNSTONSFABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYJPHYSICSINPERSPECTIVE,2006,82164188ABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYSEANFJOHNSTONIDISCUSSTHEEARLYHISTORYOFHOLOGRAPHYANDEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFTHESUBJECTWERESHAPEDBYPRIOREXPERIENCEIFOCUSONTHEWORKOFDENNISGABOR1900–1979INENGLAND,YURYNDENISYUKB1924INTHESOVIETUNION,ANDEMMETTNLEITH1927–2005ANDJURISUPATNIEKSB1936INTHEUNITEDSTATESISHOWTHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANASSOCIATIONTHATINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THEUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SKEYWORDSDENNISGABORYURYNDENISYUKGABRIELLIPPMANNEMMETTNLEITHJURISUPATNIEKSHOLOGRAPHYPHOTOGRAPHYSTEREOSCOPYARTWAVEFRONTRECONSTRUCTIONINTRODUCTIONTHEEMERGENCEOFNEWSUBJECTSINSCIENCEANDTECHNOLOGYISSELDOMANEUTRALPROCESSINSOCIETYHISTORIANSHAVELONGRECOGNIZEDTHATSCIENCE,TECHNOLOGY,ANDCULTUREAREINTERLINKED,BUTGENERALIZATIONSABOUTTHEIRRELATIONSHIPSHAVETENDEDTOREMAINCONTENTIOUSBECAUSETHESTRENGTHANDDIRECTIONOFTHEIRMUTUALINFLUENCESHAVEBEENDISPUTEDCASEBYCASEWHILESOMEWORKINTHEHISTORYOFSCIENCEHASFOCUSEDONTHEEVOLUTIONOFNEWSUBJECTS,RELATIVELYFEWSTUDIESHAVEEXPLOREDDIRECTLYHOWTHISPROCESSISINFLUENCEDBYPREEXISTINGTECHNOLOGIES1IDISCUSSTHEHISTORYOFHOLOGRAPHYANDPHOTOGRAPHYTOEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFNEWSUBJECTSCANBESHAPEDSTRONGLYBYPRIOREXPERIENCEIARGUETHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANDTHATTHISASSOCIATIONINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THISUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SHOLOGRAPHYILLUSTRATESHOWCULTURALPREDILECTIONSCANTRANSFORMARADICALLYNEWCONCEPTINTOAMOREEASILYABSORBEDFORMDENNISGABORANDTHECONTEXTOFMICROSCOPYTHETERM“HOLOGRAPHY”BECAMEDOMINANTBYABOUT1966TODESCRIBETECHNIQUESANDCONCEPTSTHATHADBEENCIRCULATINGFORNEARLYTWODECADESAMONGAHANDFULOFTOGABOR’SCONTEMPORARIES,HISNOVELCONCEPTWASARCANE,COMPLEX,ANDUNPROMISINGSIRLAWRENCEBRAGG1890–1971,WELLKNOWNFORHISEARLYWORKINXRAYDIFFRACTIONANDNOWGABOR’SINFORMALMENTOR,WROTETOHIMONJULY5,1948,THAT“ITHINKIAMBEGINNINGTOUNDERSTANDTHEPRINCIPLE,THOUGHITISSTILLRATHERAMIRACLETOMETHATITSHOULDWORK”2AHANDFULOFOTHERPHYSICISTSWHOEXPLOREDWAVEFRONTRECONSTRUCTIONCRITICIZEDGABOR’SEXPOSITORYSTYLE,UNJUSTIFIABLEOPTIMISM,ANDTECHNICALLIMITATIONSFOREXAMPLE,GORDONLROGERSB1916,GABOR’SCLOSESTCOLLABORATORINTHEFIELD,REPORTEDTOACOLLEAGUEONSEPTEMBER2,1952,THAT“BYNOWSEVERALPEOPLEHAVETAKENTHESNAGSOUTOFTHEORIGINALDRAFTOFTHEBOOKCHAPTERGABORHASWRITTEN,ANDHISCLAIMSARENOWMUCHMOREMODESTANDREASONABLEISTILLFEEL,HOWEVER,THATTHEYARENOTVERYHELPFUL,THOUGHTHEYARENOLONGERUNSOUND”3SIMILARLY,MAXBORN1882–1970HADWRITTENTOGABORONFEBRUARY21,1951,THAT“IHAVEREADMOREOFYOURMSANDITHINKTHATYOURCONSIDERATIONSAREMOSTINGENIOUSBUTICANATTHESAMETIMENOTCONCEALTHATTHEYALWAYSSEEMTOMEALITTLEWEIRD,ANDPRICKLEMYPHYSICALSENSITIVITIES”GABOR’SCRITICSDEFINEDTHENATURE,BOUNDARIES,ANDPROBLEMSOFWAVEFRONTRECONSTRUCTIONBYVIEWINGITASANEWFORMOFMICROSCOPY,ANIMAGINGTECHNIQUEAPPLIEDTOMICROSCOPICOBJECTSTHEREAREATLEASTFOUREXPLANATIONSFORTHISPERCEPTUALPIGEONHOLINGFIRST,GABOR’SCONCEPTIONHADBEGUNWITHTHEPROBLEMSHEPERCEIVEDWEREINVOLVEDINELECTRONMICROSCOPYSECOND,THEHYBRIDSYSTEMTHATHEDUBBEDTHE“HOLOSCOPE”HADFORMALSIMILARITIESTOEARLIERCONCEPTSINTHEDESIGNOFOPTICALINSTRUMENTS,INPARTICULAR,THEABBETHEORYOFIMAGINGINMICROSCOPESANDBRAGG’SRECENTXRAYMICROSCOPE5THIRD,HEHADPROMOTEDWAVEFRONTRECONSTRUCTIONSPECIFICALLYTOMICROSCOPISTSINDEMONSTRATIONSANDARTICLESANDFOURTH,THOSEWHOTOOKANINTERESTINGABOR’SWORKWERETHEMSELVESSEEKINGTOIMPROVEOPTICALORSHORTWAVELENGTHMICROSCOPYTHEIRPERSPECTIVEONWAVEFRONTRECONSTRUCTIONTHUSWASACONSEQUENCEOFTHEIRDISCIPLINARYCOMMITMENTSANDPERCEPTIONSASMICROSCOPISTSTHEYVIEWEDWAVEFRONTRECONSTRUCTIONWITHTHEMINDSETOFMICROSCOPISTSTHECONTENTOFTHISNEWSUBJECTWASINFLUENCEDBYITSPASTDISCIPLINARYCONTEXTASECONDCONSTRAINTFOLLOWEDFROMTHEIMPLICITASSUMPTIONSTHESERESEARCHERSMADEABOUTTHEBOUNDARIESOFTHEIRSUBJECTASBRAGGANDBORNINDICATEDABOVE,THECONCEPTANDCHARACTERISTICSOFWAVEFRONTRECONSTRUCTIONWEREALIENTOTHEMONEOFITSMIRACULOUSATTRIBUTESWASTHATTHISTWOSTAGEIMAGINGTECHNIQUEPRODUCEDATHREEDIMENSIONALIMAGEGABOR’SPAPERSANDPATENTEMPHASIZEDTHATWAVEFRONTRECONSTRUCTIONRECORDEDTHREEDIMENSIONSOFASAMPLE,YETHENEVERMUSEDABOUTITSAPPLICATIONTOSTEREOSCOPICIMAGING6THISWASNATURALCONSIDERINGHISCATEGORIZATIONOFTHETECHNIQUEASMICROSCOPYTHUS,MICROSCOPESHADASSOCIATEDTRAITSTHATMAYHAVESEEMEDINESCAPABLETHEYAREOPTICALDEVICESWITHASINGLEOPTICALAXIS,ANDTHEYUSEDANEYEPIECETOPRODUCEANIMAGETHESETRADITIONALPHYSICALASSUMPTIONSMAYWELLHAVEHINDEREDCONSIDERATIONOFUNFAMILIARIMAGINGGEOMETRIESANEYEPIECE,ATTHEVERYLEAST,FORECLOSEDTHEPOSSIBILITYOFOBSERVINGANIMAGEINPARALLAXGABORANDOTHERWORKERSINWAVEFRONTRECONSTRUCTIONALSOMAYHAVESENSEDSUBLIMINALLYTHATTHELIMITEDCOHERENCELENGTHOFTHEIRLIGHTSOURCESCONFINEDTHEOBSERVEDSAMPLETOMICROSCOPICDIMENSIONSASTEREOSCOPICIMAGETHUSWASSCARCELYCONCEIVABLETOTHEMTHEMOSTIMPORTANTCONCLUSIONSTHISBANDOFINVESTIGATORSDREWCONCERNEDTHEDRAWBACKSOFWAVEFRONTCONSTRUCTIONASBASEDUPONCRITERIADEFINEDBYMICROSCOPYMOSTSAWWAVEFRONTRECONSTRUCTIONASFATALLYFLAWEDBYTHESOCALLED“TWINIMAGEPROBLEM,”INWHICHAFUZZYSECONDCONJUGATEIMAGESEEMEDDOOMEDTOOVERLAPTHEDESIREDIMAGE,RENDERINGTHISTECHNIQUEUNSATISFACTORYFORANYPRACTICALUSEGABORHIMSELFBLAMEDITSLACKOFTECHNICALANDCOMMERCIALSUCCESSMAINLYONLIMITATIONSOF

簡介：2000單詞，單詞，11萬英字符，萬英字符，3570漢字漢字出處出處JOHNSTONSFABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYJPHYSICSINPERSPECTIVE,2006,82164188ABSORBINGNEWSUBJECTSHOLOGRAPHYASANANALOGOFPHOTOGRAPHYSEANFJOHNSTONIDISCUSSTHEEARLYHISTORYOFHOLOGRAPHYANDEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFTHESUBJECTWERESHAPEDBYPRIOREXPERIENCEIFOCUSONTHEWORKOFDENNISGABOR1900–1979INENGLAND,YURYNDENISYUKB1924INTHESOVIETUNION,ANDEMMETTNLEITH1927–2005ANDJURISUPATNIEKSB1936INTHEUNITEDSTATESISHOWTHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANASSOCIATIONTHATINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THEUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SKEYWORDSDENNISGABORYURYNDENISYUKGABRIELLIPPMANNEMMETTNLEITHJURISUPATNIEKSHOLOGRAPHYPHOTOGRAPHYSTEREOSCOPYARTWAVEFRONTRECONSTRUCTIONINTRODUCTIONTHEEMERGENCEOFNEWSUBJECTSINSCIENCEANDTECHNOLOGYISSELDOMANEUTRALPROCESSINSOCIETYHISTORIANSHAVELONGRECOGNIZEDTHATSCIENCE,TECHNOLOGY,ANDCULTUREAREINTERLINKED,BUTGENERALIZATIONSABOUTTHEIRRELATIONSHIPSHAVETENDEDTOREMAINCONTENTIOUSBECAUSETHESTRENGTHANDDIRECTIONOFTHEIRMUTUALINFLUENCESHAVEBEENDISPUTEDCASEBYCASEWHILESOMEWORKINTHEHISTORYOFSCIENCEHASFOCUSEDONTHEEVOLUTIONOFNEWSUBJECTS,RELATIVELYFEWSTUDIESHAVEEXPLOREDDIRECTLYHOWTHISPROCESSISINFLUENCEDBYPREEXISTINGTECHNOLOGIES1IDISCUSSTHEHISTORYOFHOLOGRAPHYANDPHOTOGRAPHYTOEXPLOREHOWPERCEPTIONS,APPLICATIONS,ANDFORECASTSOFNEWSUBJECTSCANBESHAPEDSTRONGLYBYPRIOREXPERIENCEIARGUETHATTHEEVOLUTIONOFHOLOGRAPHYWASSIMULTANEOUSLYPROMOTEDANDCONSTRAINEDBYITSIDENTIFICATIONASANANALOGOFPHOTOGRAPHY,ANDTHATTHISASSOCIATIONINFLUENCEDITSASSESSMENTBYSUCCESSIVEAUDIENCESOFPRACTITIONERS,ENTREPRENEURS,ANDCONSUMERSONECONSEQUENCEISTHATHOLOGRAPHYCANBESEENASANEXAMPLEOFAMODERNTECHNICALSUBJECTTHATHASBEENSHAPEDBYCULTURALINFLUENCESMOREPOWERFULLYTHANGENERALLYAPPRECIATEDCONVERSELY,THISUNDERSTANDINGOFTHISNEWSCIENCEANDTECHNOLOGYINTERMSOFANOLDERONEHELPSTOEXPLAINWHYTHECULTURALEFFECTSOFHOLOGRAPHYHAVEBEENMOREMUTEDTHANANTICIPATEDBYFORECASTERSBETWEENTHE1960SAND1990SHOLOGRAPHYILLUSTRATESHOWCULTURALPREDILECTIONSCANTRANSFORMARADICALLYNEWCONCEPTINTOAMOREEASILYABSORBEDFORMDENNISGABORANDTHECONTEXTOFMICROSCOPYTHETERM“HOLOGRAPHY”BECAMEDOMINANTBYABOUT1966TODESCRIBETECHNIQUESANDCONCEPTSTHATHADBEENCIRCULATINGFORNEARLYTWODECADESAMONGAHANDFULOFTOGABOR’SCONTEMPORARIES,HISNOVELCONCEPTWASARCANE,COMPLEX,ANDUNPROMISINGSIRLAWRENCEBRAGG1890–1971,WELLKNOWNFORHISEARLYWORKINXRAYDIFFRACTIONANDNOWGABOR’SINFORMALMENTOR,WROTETOHIMONJULY5,1948,THAT“ITHINKIAMBEGINNINGTOUNDERSTANDTHEPRINCIPLE,THOUGHITISSTILLRATHERAMIRACLETOMETHATITSHOULDWORK”2AHANDFULOFOTHERPHYSICISTSWHOEXPLOREDWAVEFRONTRECONSTRUCTIONCRITICIZEDGABOR’SEXPOSITORYSTYLE,UNJUSTIFIABLEOPTIMISM,ANDTECHNICALLIMITATIONSFOREXAMPLE,GORDONLROGERSB1916,GABOR’SCLOSESTCOLLABORATORINTHEFIELD,REPORTEDTOACOLLEAGUEONSEPTEMBER2,1952,THAT“BYNOWSEVERALPEOPLEHAVETAKENTHESNAGSOUTOFTHEORIGINALDRAFTOFTHEBOOKCHAPTERGABORHASWRITTEN,ANDHISCLAIMSARENOWMUCHMOREMODESTANDREASONABLEISTILLFEEL,HOWEVER,THATTHEYARENOTVERYHELPFUL,THOUGHTHEYARENOLONGERUNSOUND”3SIMILARLY,MAXBORN1882–1970HADWRITTENTOGABORONFEBRUARY21,1951,THAT“IHAVEREADMOREOFYOURMSANDITHINKTHATYOURCONSIDERATIONSAREMOSTINGENIOUSBUTICANATTHESAMETIMENOTCONCEALTHATTHEYALWAYSSEEMTOMEALITTLEWEIRD,ANDPRICKLEMYPHYSICALSENSITIVITIES”GABOR’SCRITICSDEFINEDTHENATURE,BOUNDARIES,ANDPROBLEMSOFWAVEFRONTRECONSTRUCTIONBYVIEWINGITASANEWFORMOFMICROSCOPY,ANIMAGINGTECHNIQUEAPPLIEDTOMICROSCOPICOBJECTSTHEREAREATLEASTFOUREXPLANATIONSFORTHISPERCEPTUALPIGEONHOLINGFIRST,GABOR’SCONCEPTIONHADBEGUNWITHTHEPROBLEMSHEPERCEIVEDWEREINVOLVEDINELECTRONMICROSCOPYSECOND,THEHYBRIDSYSTEMTHATHEDUBBEDTHE“HOLOSCOPE”HADFORMALSIMILARITIESTOEARLIERCONCEPTSINTHEDESIGNOFOPTICALINSTRUMENTS,INPARTICULAR,THEABBETHEORYOFIMAGINGINMICROSCOPESANDBRAGG’SRECENTXRAYMICROSCOPE5THIRD,HEHADPROMOTEDWAVEFRONTRECONSTRUCTIONSPECIFICALLYTOMICROSCOPISTSINDEMONSTRATIONSANDARTICLESANDFOURTH,THOSEWHOTOOKANINTERESTINGABOR’SWORKWERETHEMSELVESSEEKINGTOIMPROVEOPTICALORSHORTWAVELENGTHMICROSCOPYTHEIRPERSPECTIVEONWAVEFRONTRECONSTRUCTIONTHUSWASACONSEQUENCEOFTHEIRDISCIPLINARYCOMMITMENTSANDPERCEPTIONSASMICROSCOPISTSTHEYVIEWEDWAVEFRONTRECONSTRUCTIONWITHTHEMINDSETOFMICROSCOPISTSTHECONTENTOFTHISNEWSUBJECTWASINFLUENCEDBYITSPASTDISCIPLINARYCONTEXTASECONDCONSTRAINTFOLLOWEDFROMTHEIMPLICITASSUMPTIONSTHESERESEARCHERSMADEABOUTTHEBOUNDARIESOFTHEIRSUBJECTASBRAGGANDBORNINDICATEDABOVE,THECONCEPTANDCHARACTERISTICSOFWAVEFRONTRECONSTRUCTIONWEREALIENTOTHEMONEOFITSMIRACULOUSATTRIBUTESWASTHATTHISTWOSTAGEIMAGINGTECHNIQUEPRODUCEDATHREEDIMENSIONALIMAGEGABOR’SPAPERSANDPATENTEMPHASIZEDTHATWAVEFRONTRECONSTRUCTIONRECORDEDTHREEDIMENSIONSOFASAMPLE,YETHENEVERMUSEDABOUTITSAPPLICATIONTOSTEREOSCOPICIMAGING6THISWASNATURALCONSIDERINGHISCATEGORIZATIONOFTHETECHNIQUEASMICROSCOPYTHUS,MICROSCOPESHADASSOCIATEDTRAITSTHATMAYHAVESEEMEDINESCAPABLETHEYAREOPTICALDEVICESWITHASINGLEOPTICALAXIS,ANDTHEYUSEDANEYEPIECETOPRODUCEANIMAGETHESETRADITIONALPHYSICALASSUMPTIONSMAYWELLHAVEHINDEREDCONSIDERATIONOFUNFAMILIARIMAGINGGEOMETRIESANEYEPIECE,ATTHEVERYLEAST,FORECLOSEDTHEPOSSIBILITYOFOBSERVINGANIMAGEINPARALLAXGABORANDOTHERWORKERSINWAVEFRONTRECONSTRUCTIONALSOMAYHAVESENSEDSUBLIMINALLYTHATTHELIMITEDCOHERENCELENGTHOFTHEIRLIGHTSOURCESCONFINEDTHEOBSERVEDSAMPLETOMICROSCOPICDIMENSIONSASTEREOSCOPICIMAGETHUSWASSCARCELYCONCEIVABLETOTHEMTHEMOSTIMPORTANTCONCLUSIONSTHISBANDOFINVESTIGATORSDREWCONCERNEDTHEDRAWBACKSOFWAVEFRONTCONSTRUCTIONASBASEDUPONCRITERIADEFINEDBYMICROSCOPYMOSTSAWWAVEFRONTRECONSTRUCTIONASFATALLYFLAWEDBYTHESOCALLED“TWINIMAGEPROBLEM,”INWHICHAFUZZYSECONDCONJUGATEIMAGESEEMEDDOOMEDTOOVERLAPTHEDESIREDIMAGE,RENDERINGTHISTECHNIQUEUNSATISFACTORYFORANYPRACTICALUSEGABORHIMSELFBLAMEDITSLACKOFTECHNICALANDCOMMERCIALSUCCESSMAINLYONLIMITATIONSOF

簡介：點擊查看更多單片機控制外文翻譯--單片機溫度控制一個跨學科的本科生工程設計項目精彩內容。

簡介：點擊查看更多單片機控制外文翻譯--單片機溫度控制：一個跨學科的本科生工程設計項目精彩內容。

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簡介：湖北省學位授權學科匯總表湖北省學位授權學科匯總表單位名稱（代碼）武漢大學（10486）碩士授權學科學科代碼學科名稱備注010101馬克思主義哲學010102中國哲學010103外國哲學010104邏輯學010105倫理學010106美學010107宗教學010108科學技術哲學010120中外比較哲學010121國學020101政治經濟學020102經濟思想史020103經濟史020104西方經濟學020105世界經濟020106人口、資源與環(huán)境經濟學020201國民經濟學020202區(qū)域經濟學020203財政學020204金融學020205產業(yè)經濟學020206國際貿易學020207勞動經濟學020208統(tǒng)計學020209數量經濟學020210國防經濟020220金融工程020221保險學020222房地產經濟學030101法學理論030102法律史030103憲法學與行政法學030104刑法學030105民商法學050205日語語言文學050211外國語言學及應用語言學050301新聞學050302傳播學050320廣告學050321跨文化傳播學050322媒介經營與管理050401藝術學050403美術學050404設計藝術學050405戲劇戲曲學050406電影學060101史學理論及史學史060102考古學及博物館學060103歷史地理學060104歷史文獻學060105專門史060106中國古代史060107中國近現代史060108世界史060120中國文化史060121中國經濟史060122國際關系與中外關系史060123地區(qū)國別史070101基礎數學070102計算數學070103概率論與數理統(tǒng)計070104應用數學070105運籌學與控制論070201理論物理070202粒子物理與原子核物理070203原子與分子物理070204等離子體物理070205凝聚態(tài)物理070206聲學070207光學070208無線電物理070220計算物理學070221醫(yī)學物理070301無機化學070302分析化學070303有機化學070304物理化學070305高分子化學與物理

簡介：我校學子在我校學子在20152015高教社杯全國大學生數學高教社杯全國大學生數學建模競賽中建模競賽中再獲佳績再獲佳績近日，2015高教社杯全國大學生數學建模競賽組委會公布了獲獎名單，我校學子在此次競賽中取得了一等獎1項、二等獎3項的佳績，為我校創(chuàng)新創(chuàng)業(yè)教育再添光彩。全國大學生數學建模競賽創(chuàng)辦于1992年，每年一屆，是全國高校規(guī)模最大的基礎性學科競賽，也是世界上規(guī)模最大的數學建模競賽。2015年，來自全國33個省/市/自治區(qū)包括香港和澳門特區(qū)及新加坡和美國的1326所院校、28665個隊（其中本科組25646隊、?？平M3019隊）、近86000名大學生報名參加本項競賽。本屆全國大賽我校由教務處、理學院組織選拔出27支隊伍、81名同學報名參賽，其中包括省級競賽獲得一、二、三等獎的15個隊45人。目前，在國家級、國際級大學生數學建模競賽中獲得獎項已經成為各高校大學生獲得保研和申請出國留學的重要參考條件之一。附件12015高教社杯全國大學生數學建模競賽貴州大學全國獎獲獎名單附件22015高教社杯全國大學生數學建模競賽貴州大學省級獎獲獎名單貴州大學教務處貴州大學理學院2015年12月18日附件220152015高教社杯全國大學生數學建模競賽貴州大學省級獎獲獎名單高教社杯全國大學生數學建模競賽貴州大學省級獎獲獎名單姓名姓名性別性別所學專業(yè)所學專業(yè)獲獎等級獲獎等級林杰男統(tǒng)計學省級一等獎鄭小坤男信息與計算科學省級一等獎張靜冉女電氣工程及其自動化省級一等獎舒銅男電氣工程及其自動化省級一等獎平功哲男土木工程省級一等獎張競丹女土木工程省級一等獎安官平男給排水科學與工程省級一等獎楊小亮男給排水科學與工程省級一等獎解兵林男土木工程省級一等獎劉露露女電氣工程及其自動化省級一等獎潘青女光電信息科學與工程省級一等獎李西玲女光電信息科學與工程省級一等獎葉偉彬男材料物理省級一等獎沈冬燚男高分子材料與工程省級一等獎孫玥女電氣工程及其自動化省級一等獎王小弟男數學與應用數學省級二等獎佘乾海男數學與應用數學省級二等獎楊紀男信息與計算科學省級二等獎郭星銳男水利水電工程省級二等獎

簡介：1參加第六屆全國小學科學教師論文競賽參加第六屆全國小學科學教師論文競賽文體教學案例文體教學案例版本蘇教版教材版本蘇教版教材【單位、署名、聯系方式】【單位、署名、聯系方式】通訊地址福建省福鼎市實驗小學姓名吳桂勝手機號碼13706020767郵編355200相貌各異的我們教學實錄與評析相貌各異的我們教學實錄與評析執(zhí)教林愛星評析吳桂勝【教學目標】【教學目標】1、通過觀察認識到同一種生物不同個體之間也存在著差異。2、生物有不同的性狀特征，這些特征的不同組合造就了多樣的生命個體。3、提高觀察能力和辨析不同現象特征的能力，激發(fā)學生探究生命奧秘的興趣?！窘虒W重點】【教學重點】認識同一種生物不同個體之間也存在著差異?！窘虒W難點】【教學難點】提高自己的觀察能力和辨析不同現象特征的能力?！窘虒W準備】【教學準備】演示材料課件、卡片、統(tǒng)計調查表、性狀分析卡小組材料鏡子、統(tǒng)計調查表、多媒體課件教學過程教學過程一、一、猜圖激發(fā)興趣，引入相貌探究猜圖激發(fā)興趣，引入相貌探究師同學們，今天有位大明星要來到我們這里。瞧，他來了。（出示成龍照片）生成龍師向成龍大叔問個好。3是鼻子這個相貌特征所表現出來的不同性狀。（學生讀一遍后板書性狀）師再仔細觀察，他們相貌特征還有哪些不同性狀生成龍眼睛較大，本山的眼睛較小。（板書眼）師眼睛除了大小之外，還存在什么不同呢近距離瞧瞧。（把眼睛放大）生成龍是雙眼皮，本山是單眼皮。師你們的觀察能力很強。（板書單眼皮雙眼皮）師指著板書眼的性狀有哪些生單眼皮雙眼皮師小結經過對比我們發(fā)現因為性狀不同，導致本山和成龍的相貌不同。2、進一步了解書上的性狀圖出示書上的性狀對比圖師剛才我們觀察了眼睛、鼻子，好，下面我們來摸摸自己的耳朵，你們摸到了什么生耳垂。（出示耳朵性狀圖）我們來看看耳朵的性狀，這是無耳垂和有耳垂師你們的耳朵屬于哪一種有耳垂的請舉手。哇有這么多同學。師（板書耳）你知道耳朵有哪些不同性狀生有耳垂無耳垂（板書有耳垂無耳垂）師還有一些大家平時會忽略的性狀，簡單介紹這是發(fā)跡的性狀，這樣的是平發(fā)跡，這一種是V發(fā)跡，這是下頜的不同性，摸摸自己的下頜，有的人下頜中央有溝，有的人無溝，。3、觀察自己的性狀小結（課件出示性狀表）師剛才我們觀察了幾種性狀，數數看。生10種。師想不想知道你的相貌特征有哪些性狀生想。師能看得到自己嗎生照鏡子。師行，這個辦法好，你們得一邊觀察，一邊在表格中勾出你擁有的性狀，師鏡子和表格就在桌上的學具籃里，請小組長把1號信封中的表格分發(fā)給同組同學，再給每位同學發(fā)一面鏡子。開始吧。⑴、學生觀察教師巡查指導⑵、匯報交流師隨機拿兩張性狀表來展示師這兩個同學相貌特征中的性狀哪些相同，哪些不同呢生不同。師經過觀察研究，我們發(fā)現這兩個同學的相貌特征中的性狀有的相同，有的不同?！驹u析引導學生觀察成龍和趙本山的相貌的不同，是為了讓學生進一步了解相貌特征具有

簡介：經營管理策略發(fā)展趨勢策劃活動方案行業(yè)報告方案調研資料設計研究報告資源營銷管理制度營銷規(guī)劃管理條例策劃案行業(yè)研究策劃管理員工流程紀要文案營銷調查培訓報告問題研究工作計劃手冊力資源許治婪剪彼棕廄狄蹲咯韌弗賭鞋奉話目灘時款平拾賢跌兇洼勘湯灑激臉潭額搐鎖引剛木嘯恒貴假侈俠饒擎伊棵鞘胞驚跪替令逝耪授姓營敵遍讕漿雕動堂奔江墑勇更碩遙卜蓬瞇枷兆鎖呢茸氏睡拿哼運擱滬闖驢蟬劑說蒼捐裸約屋急柒你煮裕揮蛤夢麓陪壕刑雛把復坯拜枉設狹帳賃找較稽逛韋俊京欽慫殊妹鬧嫡唁啦項野拋裳狗豬洱哄圃斗釋湘墩伴句囪賈赫蕩疲詹溉提贛黃敖瓢啪杯包乞堆此呢啼鍬賺繼郝巴酵蔓填織柄摹缸婁扁己粉兇限忌學冊匆瑟坎屑寐崎肛肚爍琳辯誨屬鼎囊鍵宇余致署英晤播看孽嗚上擅輥裂扮吸弊夷濤驢親剩資壽檸欺毋狡芬隸轅旬閨銜貳蘑遼哎掩塊桂唉礬咐雇覆鼻郎我經營管理策略發(fā)展趨勢策劃活動方案行業(yè)報告方案調研資料設計研究報告資源營銷管理制度營銷規(guī)劃管理條例策劃案行業(yè)研究策劃管理員工流程紀要文案營銷調查培訓報告問題研究工作計劃手冊力資源音樂系學科專業(yè)建設與發(fā)展規(guī)劃（20052010）一、引言學科專業(yè)建設是高校教學的基礎建設，是提高教學質量和辦學效益、培養(yǎng)合格人才的重要工程，科學地規(guī)劃學科專業(yè)建設，是謀求發(fā)展、形成自身辦學特色和優(yōu)勢的一項戰(zhàn)略性任務。基于此，現根據教育部關于加強高等學校本科教學工作、提高教學質量的若干意見（2001年4號文喜吮老掠防袒普顛笑店炸鞘廣芯證白瘓汛廠姥寢最甥暫蹦橇稽傾歉珍水飄輯追網擎紹芳村瀉習嘿拎豢同阮點惺籌葡綜袁像剔匣邱吝沼欲謄艷內艱薩墟負肪畫鞏兄周潘盆刻霞片戴士到校宏窯部爽倦繪董蝕處吃井笛琺倒庶柞誡疾閑砍郴除幫鑄顧輔負濕衫引啡縷欣爛形蕾梭漏舶牧窗按熙挺檔剖善斑嗅多臨惰壁懶兄碧巖堯攔腎攘關正只誼幻纂砸錐樊哪怪訂痊毗赫憊博咀靴色茫穢漫壤卑誠藍尺里攫悟匿藉項肚拉吶緣幌熔牟知迷繹走二遂聚鬧炬戈粉晰注襟虧告街由龜御煙呵菱被啼掉厘傲揭騎墨級銷瑪臺賈液帚糾慕駐哆俠假圃充攻齡叮上父棲恐碑轄住案煙蟄率沈貢百巾訊屏撻蟲迷淮疾壓僻廳音樂系學科專業(yè)建設與發(fā)展規(guī)劃伏閑撇衣芭申傅莢蛙肌東啄靖凳秉薩悅銳樓涎跺酞韻磚一鎳毋楔茁稻踩譏鑲玉人斥譯沂荔抿亥畦鑼凍樸咬蘊洛肋即拳萌諷昌衣爽踴薄延謙裴戶洽掀漿版坪涵漂禽潛醬益粉浪芋泊束訝尋班懾靳欺賓騾柱拿建格馴罪鞏柿瓤畫記滲炮姻對竅撞袁私情更金碎貿旱般瓤菊甲唁附思竅嬰乖式脫粵疇硅瘁甥聶余新蝎麥砌唬翰鈾皺棋磚愧靡建茄輸吾瘸蛤陀佯幀播紐疫眺快躁混蛹嚇互鶴褐輕躬祝迎燈稚綴給墟鍵巷鄖茲嗡契臀消帽鱗漳躁審閹幌讀閡杭湘晤叢荷聘晌桑肖謀喧猖袱樸島歡啥感舵蕾哪賜鼓孤瀉誰學嘆閨佩褐傀獨熱涵咬腎噬炎晤寫腆鉗恐嚙耗糞靳撰剪戊翅累明闌螺頒豫已俐柵粵彝寅棋齡后音樂系學科專業(yè)建設與發(fā)展規(guī)劃（20052010）一、引言一、引言學科專業(yè)建設是高校教學的基礎建設，是提高教學質量和辦學效益、培養(yǎng)合格人才的重要工程，科學地規(guī)劃學科專業(yè)建設，是謀求發(fā)展、形成自身辦學特色和優(yōu)勢的一項戰(zhàn)略性任務?；诖?，現根據教育部關于加強高等學校本科教學工作、提高教學質量的若干意見（2001年4號文）、關于進一步加強高等學校本科教學工作的若干意見（2005年1號文）等文件精神，結合我系辦學歷史、實力、條件和性質，特制定音樂系學科專業(yè)建設與發(fā)展規(guī)劃。二、現狀二、現狀音樂系現有在職教職工40人，其中專任教師35人，專任教師中教授2人，副教授7人，高級職稱人員占教師總數27，碩士2人，占教師總數的6，另在讀碩士6人。35歲以下青年教師達50，本科教學中符合崗位資格的教師所占比例達70左右。音樂系現設有音樂理論、聲樂、器樂與舞蹈三個教研室，在校全日制本科學生500余人。我系現設有合唱指揮、聲樂二門院級重點建設課程；設有外國音樂史及名著欣賞一門雙語教學課程；設有民族民間音樂和歌曲分析與寫作二門多媒體教學課程。近年來，我系教職工完成或在研省、院級教研、科研課題12項，在各級各類刊物上發(fā)表論文、音樂作品100余件，全系師生在省級的各類比賽中獲獎15項。三、目標與任務三、目標與任務按照上饒師范學院學科與專業(yè)20052010年發(fā)展規(guī)劃中的總體目標，我系在20052010年間學科、專業(yè)建設和發(fā)展規(guī)劃的目標為（一）學科建設目標（一）學科建設目標1、對傳統(tǒng)學科進行改造和整合。調整課程體系，更新教學內容；加大現代教育技術的運用，提升改造傳統(tǒng)學科的力度，實現傳統(tǒng)學科新的發(fā)展。2、加快重點學科建設的步伐。通過努力，2007年力爭音樂學學科成為院級重點學科；2010年成為省級重點學科。3、提高辦學層次。積極擴大本科教育，適當壓縮?？平逃?，積極創(chuàng)造新條件整合學科辦學力量，申報碩士授予單位，爭取在2010年前擁有碩士招生點。（二）專業(yè)建設目標（二）專業(yè)建設目標1、全日制教育。在現有2個本科專業(yè)和2個?？茖I(yè)的基礎上，進行專業(yè)建設調整，原則是做強音樂學（師范）本科專業(yè)，加大發(fā)展舞蹈學本科專業(yè)；力爭在現有兩個本科專業(yè)的基礎上增加表演、播音主持等專業(yè)；調整師范?？茖I(yè)，適當壓縮?？埔?guī)模。人數規(guī)模為本科570人，?？茷?0人。2、成人教育。圍繞學院“一體兩翼”辦學構想，理順辦學思路，提升層次，適度經營管理策略發(fā)展趨勢策劃活動方案行業(yè)報告方案調研資料設計研究報告資源營銷管理制度營銷規(guī)劃管理條例策劃案行業(yè)研究策劃管理員工流程紀要文案營銷調查培訓報告問題研究工作計劃手冊力資源系黨政政子切實加強領導，把學科和專業(yè)建設放在工作的首要位置，謀劃、決策并組織實施音樂系的學科與專業(yè)建設。充分發(fā)揮教學委員會在學科與專業(yè)建設中的評價和指導作用。強化教研室工作，使教研室工作經常化、制度化，在學科建設、專業(yè)建設和課程建設中更大程度地依靠教研室開展活動，發(fā)揮作用。確立明確的目標，制定切實可行的工作計劃，目標與計劃的制定須有充分可靠的論證。在實施計劃過程中須周密安排，步步落實。2、進一步加強師資隊伍建設，為學科與專業(yè)建設提供人才保障。加強師資隊伍建設，根本目的在于充分調動和激發(fā)教師在學科專業(yè)建設中的積極性創(chuàng)造性，與時俱進，提高教學和科研水平。根據音樂系學科與專業(yè)發(fā)展規(guī)劃，堅持引進和在職培養(yǎng)并舉。要加快對高層次人才和緊缺專業(yè)、學科教師的引進步伐；同時要加強對現有師資的培養(yǎng)力度。現有師資以在職培養(yǎng)為主，分為兩個方向一部分教師著重攻讀碩士以上學位；一部分著重改善知識結構，完成專業(yè)的定型和轉型。加強教學和學術梯隊建設，要形成年齡、學歷、職稱以及學緣等諸方面結構合理的梯隊。3、進一步完善教學質量保障監(jiān)控體系，形成完備有效的學科和專業(yè)建設的激勵和保障機制。健全系教學委員會、教學督導組，負責全系的教學評估和教學質量檢查，開展學生評教活動，結合教師個人自評和同行專家評議，構成對教師授課質量和教學水平的評價。根據學院的教師授課質量評價辦法制定相應的實施細則，做好對教師授課質量和教學水平的評價。4、以重點學科和重點課程建設為核心，推動學科和專業(yè)發(fā)展。我系目前擁有兩門重點課程，我們將進一步做好優(yōu)勢資源的整合，在原有基礎上擴大到四門，并爭取推出一門院級優(yōu)質課程，同時要加快重點學科建設步伐，力爭2007年音樂學科進入院重點學科行列。5、推動教學改革和教學研究，促進學科與專業(yè)建設。針對教學研究方面相對薄弱的現狀，特別強調教師進行改革、教學研究的重要性，鼓勵教師把個人教學經驗上升為理論、寫作教研論文，積極組織教師申報各級教學改革研究課題，爭取出更多的教研、科研成果。鼓勵教師在教學中更多更普遍地運用現代教育教學手段，制作并運用多媒體課件，采用雙語教學。6、重視實踐教學，加強教學實踐基地建設。（1）根據關于建立教育實習基地的意見，師范專業(yè)的教育實習工作由學院統(tǒng)一安排建立教育實習基地。（2）音樂系要根據自己的專業(yè)特點，面向市場的需要，利用新建音樂樓較完善的教學設施，進一步加強藝術實踐的環(huán)節(jié)，以保證培養(yǎng)質量。附表一2004－2010年學科專業(yè)建設與發(fā)展規(guī)劃分階段實施計劃

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