the quantum story
118
by the Académie des Sciences in Paris to commemorate the centenary
of the death of French physicist Augustin Fresnel. By the time Lorentz
had discovered the clash, it was too late to reschedule. He proposed a
compromise. The Solvay conference was suspended for a day. Those con-
ference participants who wished to attend the Fresnel celebrations could
do so, returning to Brussels on Friday to resume their discussions.
Consequently, Lorentz opened the meeting for general discussion on
Friday morning, expressing some of his own views and making an old
physicists’ plea for causality and determinism before calling on Bohr to
address the conference. Bohr described his concept of complementarity,
much as he had presented it at Como, but now directing his statements
to Einstein who was hearing this argument for the fi rst time.
1
Einstein did
not respond immediately.
Eventually, Einstein stood to make some comments. ‘Despite being
conscious of the fact that I have not entered deeply enough into the
essence of quantum mechanics, nevertheless I want to present here some
general remarks,’ he said.
He referred to a general experiment involving the diffraction of a beam
of electrons or photons through a narrow slit.
2
The diffraction pattern
appears on a second screen and is recorded (for example using photo-
graphic fi lm). If quantum theory is assumed to be a complete theory of
individual processes, the behaviour of each individual quantum particle
is described by an appropriate wavefunction and it is the properties of
the wavefunction that give rise to the diffraction pattern. However, at the
moment the wavefunction impinges on the second screen, it ‘collapses’
instantaneously, producing a localized spot on the screen which indi-
cates ‘a particle struck here’.
3
1
Bohr did not deliver a formal lecture to the fi fth Solvay conference. At his request, a translation
of his Nature paper on complementarity was appended to the formal conference proceedings.
2
I have elaborated Einstein’s example somewhat to make it more readily understandable.
3
Photographic emulsion is made up of millions of tiny crystals of a silver salt (called sil-
ver halides). The photon interacts with a silver salt crystal, and the crystal (and some of its
neighbours) break down to give a black silver deposit. Developing chemicals are then used to
break down more crystals and so amplify the initial deposit to create a visible image. The fi lm
is treated with further chemicals to convert any remaining silver halides into colourless salts,
so the fi lm is no longer sensitive to light. This is the negative. Light is then passed through the
negative onto light-sensitive paper to create the positive.