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In 1968 a team of scientists and engineers from RCA announced the creation of a new form of electronic display that relied upon an obscure set of materials known as liquid crystals. At a time when televisions utilized bulky cathode ray tubes to produce an image, these researchers demonstrated how liquid crystals could electronically control the passage of light. One day, they predicted, liquid crystal displays would find a home in clocks, calculators—and maybe even a television that could hang on the wall. Half a century later, RCA’s dreams have become a reality, and liquid crystals are the basis of a multibillion-dollar global industry. Yet the company responsible for producing the first LCDs was unable to capitalize upon its invention. In The TVs of Tomorrow, Benjamin Gross explains this contradiction by examining the history of flat-panel display research at RCA from the perspective of the chemists, physicists, electrical engineers, and technicians at the company’s central laboratory in Princeton, New Jersey. Drawing upon laboratory notebooks, internal reports, and interviews with key participants, Gross reconstructs the development of the LCD and situates it alongside other efforts to create a thin, lightweight replacement for the television picture tube. He shows how RCA researchers mobilized their technical expertise to secure support for their projects. He also highlights the challenges associated with the commercialization of liquid crystals at RCA and Optel—the RCA spin-off that ultimately manufactured the first LCD wristwatch. The TVs of Tomorrow is a detailed portrait of American innovation during the Cold War, which confirms that success in the electronics industry hinges upon input from both the laboratory and the boardroom.
In recent years, the media has been awash in exuberant tales of the arrival of the information superhighway, when television will explode with exciting possibilities, offering some 500 channels as well as a marriage of TV and computer that will provide, on command, access to the latest movies, magazines, newspapers, books, sports events, stock exchange figures, your bank account, and much, much more. And the major TV networks, pundits add, will be doomed to extinction by this revolution in cable, computers, and fiber optics. But in Television Today and Tomorrow, Gene Jankowski--former President and Chairman of the CBS Broadcast Group--and David Fuchs--also a former top executive at CBS--tell a different story. They predict a bumpy road ahead for the information superhighway, and the major networks, they say, are abundantly healthy and will remain so well into the next century. The information superhighway, Jankowski and Fuchs admit, will dramatically increase the distribution channels, but it will have little impact on the amount of programming created--and this may spell disaster. The authors show how the networks began as a way to provide programs to local stations (who could not afford to produce their own), who in turn provided the distribution that gave networks access to mass audiences and ultimately large advertising dollars. They then offer us an inside look at television production--showing us, for instance, a veteran scriptwriter putting together a breakfast table scene for "Cloud Nine"--to underscore how much effort goes into producing just two minutes of primetime programming. They reveal that the present 20 channels require some 20,000 hours of programming each year, which is more than all the Broadway plays produced in this century, and they conclude that without a dramatic increase in programming (which won't happen if only because of the very finite supply of talent), the superhighway will be jammed bumper-to-bumper with reruns, old movies, and inexpensive programming aimed at tightly focused audiences ("narrowcasting" as opposed to "broadcasting"). This is hardly the bonanza the pundits have promised. The authors point out that the media blitz about the new technology has hardly focused on programming, or on funding, or on what needs these 500 channels will fill. The major networks, on the other hand, will remain the only means of reaching the whole country, and the only channels that offer a full schedule of current, live, and original programs, free of charge. And thus they will continue to attract most of the audience of TV viewers. The real loser in the cable revolution, the authors contend, is PBS, whose role as an alternative to network TV has been usurped by cable stations such as The Discovery Channel and Nickelodeon. This is a brass tacks look at television with an eye on the bottom line by two men who boast over sixty years of experience in the medium. If you want to understand television in America, where it came from and where it is going, you will need to read this book.
The 7th installment of the REWAS conference series held at the TMS Annual Meeting& Exhibition focuses on developing tomorrow’s technical cycles. The papers in thiscollection explore the latest technical and societal developments enabling sustainabilitywithin our global economy with an emphasis on recycling and waste management. The2022 collection includes contributions from the following symposia: • Coupling Metallurgy and Sustainability: An EPD Symposium in Honor of Diran Apelian• Recovering the Unrecoverable• Sustainable Production and Development Perspectives• Automation and Digitalization for Advanced Manufacturing• Decarbonizing the Materials Industry
This collection of essays sheds light on where we have come from, and where we are going in the media. It will be of interest to those working in, and those studying, the media, across the range of disciplines that are needed to regulate and build the media industry and create media content. This book brings together an impressive group of media and broadcasting experts, making it not only a work of the highest academic quality, but a unique collection of interdisciplinary research. Bringing together contributions from the history of broadcasting and the digital television, as well as discussion of the future of audio and the use of electronically created scene content, this book exists at an intersection between technology and the arts.
This IRIS Special issue follows a dual goal: first, to survey the current state of digital television, and second, to focus on the latest forms in which media content is being offered.
Almost Sixty Years Ago, Nehru Spoke Of India S Tryst With Destiny At The Dawn Of Independence. In The Constitution Of The New Republic That Was Framed A Few Years Later, The Goals And Values Of That Vision Were Unfolded. How Far Have We Progressed Since Then And What Is It That Destiny Now Holds For Tomorrow S India? The Present Volume Of Essays Surveys The Scene Past-Forward And Paints A Picture Of What Has Been Accomplished And What Remains To Be Done. There Is Pride And Satisfaction In Particular Over India S Vibrant Democracy And Progress In Many Directions. This Is Nonetheless Tinged With Concern, For There Are Nagging Problems Of Governance And Shortfalls In Human And Infrastructure Development, As Well As Social Deficits In The Matter Of Rights, Corruption And Sectoral And Regional Imbalances. All These Must Be Squarely Faced And Speedily Overcome If The Nation Is To Grow In Keeping With Its Increasingly Recognized Potential As A Rising Great Power. It Has Been Widely Forecast That Within Thirty Years India, Together With The United States And China, Will Constitute The Three Largest Economies In The World. The Wellsprings Of Growth Are There. However, As More Than One Author Points Out, Mere Economic And Technological Growth Is Not Enough. In This Globalizing World The Market Is Not All. The Citizen Must March Hand In Hand With The Consumer In A Sharing And Caring Society. The Twenty-Four Essayists Who Write Of Tomorrow S India Do So In Celebration Of The 125Th Anniversary Of Their Alma Mater, Delhi S St Stephen S College. Their Themes Relate To Diplomacy And Security; The Economy And Technology; Governance; Society S Watchdogs; Ideology And Values; Social Change; And Culture And Heritage. The Authors Represent A Galaxy Of Public Figures, Academics, Professionals And Social Workers. What They Have To Say Makes Compelling Reading, With Penetrating Insights And Critiques. Contributors Include George Abraham, Mani Shankar Aiyar, Rukmini Banerji, Ranjit Bhatia, Ravi Dayal, Gopalkrishna Gandhi, Sagarika Ghose, Navina Haidar Haykel, Prem Shankar Jha, Manoj Joshi, Mukul Kesavan, Arun Kumar, Sarwar Lateef, Arun Maira, Harsh Mander, Deepak Nayyar, Bunker Roy, Vikramjit Sen, Kapil Sibal, Dilip Simeon, K. Natwar Singh, N.K. Singh, B.G. Verghese And Sitaram Yechury
Playwrights for Tomorrow was first published in 1975. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. Four plays by writers who have worked under the auspices of the Office for Advanced Drama Research (O.A.D.R.) at the University of Minnesota are published in this volume, the thirteenth in the series of such collections. The O.A.D.R. program, which is directed by Arthur H.. Ballet, the series editor, provides an opportunity for promising playwrights to work with cooperating theatres in the production of their plays. The plays in this volume are The Tunes of Chicken Little by Robert Gordon, The Inheritance by Ernest A. Joselovitz, Blessing by Joseph Landon, and The Kramer by Mark Medoff. Three of the plays—those by Robert Gordon, Joseph Landon, and Mark Medoff—were produced by the American Conservatory Theatre of San Francisco. The play by Mr. Joselovitz was presented by the University of Minnesota Theatre in Minneapolis. In his introduction Mr. Ballet comments on the achievements and problems of the O.A.D.R. program. He reports that since the program began it had had about one hundred plays produced in some sixty theatres, not only in the United States but also in Australia, New Zealand, Scotland, and Canada. However, he writes, it became increasingly difficult to find playhouses willing to risk the challenge of new plays and playwrights. "More dangerous still," he writes, "has been the tendency for some directors to make theatre their own, highly personal art. Because so many of these directors only like what they know, and they don't know what to make of new work at all, they cannot truly judge and anticipate as a stage piece anything beyond their immediate ken. The rejections are cavalier and unthinking. The directors' lament that there are no new, exciting playwrights must be answered with the accusation that there really are damned few new, exciting, perceptive directors."