[雙語(yǔ)翻譯]--攝影外文翻譯--新興學(xué)科全息攝影模擬技術(shù)（原文）

1、164Absorbing New Subjects: Holography as an Analog of PhotographySean F. Johnston*I discuss the early history of holography and explore how perceptions, applications, and forecasts of the subject were shaped by prior exp

2、erience. I focus on the work of Dennis Gabor (1900–1979) in England,Yury N.Denisyuk (b.1924) in the Soviet Union,and Emmett N.Leith (1927–2005) and Juris Upatnieks (b. 1936) in the United States. I show that the evolutio

3、n of holography was simul- taneously promoted and constrained by its identification as an analog of photography, an associ- ation that influenced its assessment by successive audiences of practitioners, entrepreneurs, an

4、d consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated. Conversely, the understandin

5、g of this new science and technology in terms of an older one helps to explain why the cultural effects of holography have been more muted than anticipated by fore- casters between the 1960s and 1990s.Key words: Dennis G

6、abor; Yury N. Denisyuk; Gabriel Lippmann; Emmett N. Leith; Juris Upatnieks; holography; photography; stereoscopy; art; wavefront reconstruction.IntroductionThe emergence of new subjects in science and technology is seldo

7、m a neutral process in society. Historians have long recognized that science, technology, and culture are interlinked, but generalizations about their relationships have tended to remain con- tentious because the strengt

8、h and direction of their mutual influences have been dis- puted case by case. While some work in the history of science has focused on the evo- lution of new subjects, relatively few studies have explored directly how th

9、is process is influenced by preexisting technologies.1I discuss the history of holography and photography to explore how perceptions, applications, and forecasts of new subjects can be shaped strongly by prior experience

10、. I argue that the evolution of holography was simultaneously promoted and constrained by its identification as an analog of photography, and that this association influenced its assessment by successive audiences of pra

11、ctitioners, entrepreneurs, and consumers. One consequence is that holography can be seen as an example of a modern technical subject that has been shaped by cultural influences more powerfully than generally appreciated.

12、 Conversely, this understanding of this new science and technology inPhys. perspect. 8 (2006) 164–188 1422-6944/06/020164–25 DOI 10.1007/s00016-006-0264-8* Sean Johnston is Senior Lecturer in Science Studies at the Unive

13、rsity of Glasgow. His research focuses on the history of modern physics, technology, and professional communities.Birkhäuser Verlag, Basel, 200603_johnston_264 20.4.2006 8:10 Uhr Seite 164Sean F. Johnston Phys. p

14、erspect. 166example, Gordon L. Rogers (b. 1916), Gabor’s closest collaborator in the field, report- ed to a colleague on September 2, 1952, that “by now several people … have taken the snags out of the original draft [of

15、 the book chapter Gabor has written], and his claims are now much more modest and reasonable. I still feel, however, that they are not very helpful, though they are no longer unsound.”3 Similarly, Max Born (1882–1970) ha

16、d written to Gabor on February 21, 1951, that “I have read more of your MS.And I think that your considerations are most ingenious. But I can at the same time not conceal that they always seem to me a little weird, and p

17、rickle my physical sensitivities.”4Gabor’s critics defined the nature, boundaries, and problems of wavefront recon- struction by viewing it as a new form of microscopy, an imaging technique applied to microscopic objects

18、.There are at least four explanations for this perceptual pigeon-hol- ing: first, Gabor’s conception had begun with the problems he perceived were involved in electron microscopy; second, the hybrid system that he dubbed

19、 the “holoscope” had formal similarities to earlier concepts in the design of optical instruments, in particular,Fig. 1. Dennis Gabor (1900–1979) in middle age. Credit: Courtesy of the Massachusetts Institute of Technolo