"Television: the revolution," ([1944])

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20 TELEVISION: THE REVOLUTION rive at your television receiver antenna. They trickle down and are amplified by radio tubes in much the same way that sound is now ampli- fied in your standard receiving set. Next, they are hitched to another cathode beam which is focused on the screen of your television receiver, or "kinescope." This cathode beam is identical to the electronic milk-man in the television cam- era at the radio studio. But instead of shining on a mosaic, the re- ceiving cathode beam zigzags across a screen which is painted with a luminous material. This material is similar to the paint on the hands of your watch, which makes them visible at night. The difference is that the paint on this television screen glows only when the cathode beam is shining on it. A group of magnets swings the cathode beam back and forth across the screen of the television receiver, exactly synchronized with the cathode beam inside the tele-camera miles away. You might call it a moving pencil of electrons which draws Miss Grable's picture on the luminous screen, precisely in step with the identical cathode beam at the broadcasting studio. The five-hundred-and-twenty-five lines which make up the picture are so fine and so