By Marc J. de Vries, Marc J. Vries
Considering international struggle I, the Natuurkundig Laboratorium has been a vital middle of commercial examine for Philips, one of many world’s biggest electronics businesses. during this learn, Marc J. de Vries demonstrates how the heritage of the laboratory may also help us comprehend vital alterations within the creation and makes use of of expertise within the 20th century. Breaking their learn into 3 sessions, each one characterised via varied learn ambitions and methods, the authors increase this normal heritage with special case reviews. the outcome should be of worth to someone learning the heritage and philosophy of know-how.
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Additional resources for 80 Years of Research at the Philips Natuurkundig Laboratorium (1914-1994): The Role of the Nat. Lab. at Philips
Holst had to search for ways of establishing a scientific reputation for the lab. Apart from having specific know-how in the field of spectra, the scientific status of G. Lab. in 1920. Another way to raise the scientific status of the lab was by inviting famous scientists to lecture there. Before 1923 it had been particularly Paul Ehrenfest who had frequently visited the lab to give lectures. He came from St. Petersburg, but at that time he was Professor of Theoretical Physics at the University of Leyden.
48 In 1924 RCA in the USA sent a picture by facsimile across the Atlantic and back, and in 1926 a commercial facsimile service was started. 49 But later he expected that it would replace mail correspondence, because of the slowness of the postal system. The idea was that documents would be scanned, the information transformed into an electrical signal, and this signal then transmitted just like radio signals. At the receiver end the information would be written onto a film. Like stereophony, the idea was realised technically,50 but the exploitation of the ‘fax’ would not come about until much later.
6, p. 80). On a strip of celluloid film (C), a gelatine layer (G) and a thin non-transparent covering layer (D) are deposited. A wedge-shaped cutter (S) moves up and down according to the sound signal and cuts a track. For playing the music the track is read optically, in the same way as is done with photographically recorded sound film. strations were given, and people recognised the spatial effect of stereophonic sound. Yet, it would not be until 1958, when Philips produced its first stereophonic record player, that this technique would be exploited commercially.