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For both reasons, owing to the thermal motion and to the working together of various wavelengths, factors arise which, in a similar manner to the structural factor, exert some influence upon the brightness of the interference points but not upon their location.

During exposure, interference takes place between the incident rays and those reflected by the mirror, with the formation of interference fringes half a wavelength distant from each other.

In my model, important interference phenomena arise when individual strata come into contact. These chaotic fluctuations are, I suppose, what my music is really 'about.'

In the case of composite colour, an infinity of systems must be obtained for maxima infinitely slight and with an infinity of interval values separating them - that is to say, the whole thickness of the sensitive layer is occupied in continuous manner by these maxima.

When the shot is afterwards subjected to white light, colour appears because of selective reflection.

It seems that when anything aimed at kids catches on, it causes the collective antennae of the older set to go up.

This happens to me all the time: I think I'm working on one thing, but this other thing, whether I want it to or not, keeps coming through.

Whenever I record more than two or three layers, it starts to get cluttered up, and you can't hear the cut of the guitars as good. It's hard to get four guitars to hit at exactly the same time and keep the attack tight.

Along a series of lines running from longer to shorter wavelengths the effect of the electric field becomes greater as the serial numbers increase - that is, as the wavelength decreases.