Technique for abrasive cutting of thick-film conductors for hybrid circuits

Abrasive jet technique, producing prototype conductor networks for thick-film hybrid microcircuits, does not require screening and fixing procedures. Pantograph engraver is used to perform abrasive cutting of the conductor network

Literary Criticism

To define the domain of literary criticism would require some contentious choices and some contended definitions—about what the “literary” is and about what kinds of interventions can be included as “criticism.” The aim of this entry is not to trace the whole history of literary criticism. Nor should it be assumed that modern literary criticism is naturally or necessarily academic. The following discussion will address such matters and operate with such definitions and omissions, always mindful that doing so does not necessarily settle anything.https://scholarworks.wm.edu/asbookchapters/1007/thumbnail.jp

Review of Picasso, Braque and Early Film in Cubism

Pace Wildenstein’s exhibition Picasso, Braque and Early Film in Cubism ran from 20 April to 23 June 2007 in New York. Those lucky enough to have seen it will surely recall a nice selection of well-known works and less widely published works, including pictures from private collections and from major museums in the United States and abroad. I expect the show itself would have ranked as a proud achievement for most museums. In addition to the fi ne selection of works on view, though, the gallery included specimens of early cinematographic equipment, which, while they may well be familiar to the historian of early film, helped introduce the exhibition’s premise to the art historian whose training is more strictly confined to painting. A screen near the entrance to the exhibition showed video from a vintage, hand-coloured film of the type of dancing made famous by Loïe Fuller; a room adjacent to a gallery of paintings showed examples of the early films that Pablo Picasso, Georges Braque and their circle saw in the same years they developed cubism. I found the show not only a valuable opportunity to see a remarkable selection of paintings but also a welcome chance to learn about cinema and film technology at first hand, so to speak..

Farago’s Global Art History

Anyone who’s been paying attention for the past two decades has noticed that art history (just like the other humanities) has been furiously globalizing itself. From fighting Eurocentrism to tracing global networks of exchange, to acknowledging the incommensurability of multiple modernities, to challenging the category of art itself as an ideological mystification developed in modern Europe—which continues to reproduce power structures and to project them onto other cultures and peoples—turning global is a move with a lot of sponsorship, both intellectual and institutional. These different attacks on an art history variously understood as blinkered, racist or Eurocentric have been canonized by art historians and, more importantly, by university administrations. Which is a good thing in lots of ways. Departments are adding full-time positions in areas they had previously left untaught or had relied on adjuncts or other non-tenure-eligible faculty to teach..

Questions for Adams

Thomas J. Adams’ review of Thomas Piketty’s Capital in the Twenty-First Century begs what I consider to be a vital question. In what follows, I want to pose that question. In that sense, I am criticizing Adams. I should say, further, that that is the only sense in which I understand myself to be criticizing Adams. I don’t aim to find fault with his general thesis, that by “eliding history, the terms of [Piketty’s] discussion imagine solutions without politics,” which is to say, without a good account of the history of inequality, you cannot have an effective, mobilized political engagement

Responses to Davis, “Neurovisuality”

Things remain visible to people outside the visuality within which they were intentionally produced, though what is visible in an artifact in this context (or what is visible about it) may differ from what is visible in the context of visuality. By the same token, people can succeed to many visualities, though both Wölfflin and Panofsky were somewhat uncertain (on different grounds) about just how far it is possible to do so when we are dealing with visualities constituted in the past and accessible to us only in things made to be visible within them that happen to have survived into our own visual world

Review of Rachael Z. DeLue. Arthur Dove: Always Connect. Chicago: University of Chicago Press, 2016. 311 pp.

Rachael Z. Delue’s study of Arthur Dove’s career makes some bold choices and reveals a remarkable array of forces at work in what is probably the best body of painted work in the circle around Alfred Stieglitz. DeLue avoids many classical approaches, questions, and issues; instead, she delivers a visual cultural investigation of historical discourses—about weather, sound recording and broadcast, shorthand, and others—that pays substantial dividends when DeLue returns to discuss the paintings. This is an exemplary art historical appropriation of visual culture, and it puts forward a strong thesis about what motivates Dove’s major works of 1921 to 1946

Action and Standing a Round

Some philosophers, like Roger Scruton, famously deny that a photograph can be a work of art. On their views, whatever is truly photographic is sheerly mechanical: it is dependent on the objects of the world, not on the ideas, beliefs or intentions of the photographer. Photography cannot make art, because there is no way to intend something photographically. To help us grasp what is essentially photographic, Scruton suggests we consider what he calls an “ideal photograph,” which is (as he explains) a “logical fiction.” The “ideal photograph” is the product of photography stripped of all manipulation and reduced to what is specifically photographic. Some corresponding ideal could be posited for painting. The ideal painting, Scruton explains, stands in what he calls “a certain ‘intentional’ relation to a subject.” Among other things, that means that it stands in a certain relation to “a representational act, the artist’s act,” so that “in characterizing the relation between a painting and its subject we are also describing the artist’s intention.” “In characterizing the relation between the ideal photograph and its subject,” on the other hand, as Scruton explains, “one is characterizing not an intention but a causal process, and while there is, as a rule, an intentional act involved, this is not an essential part of the photographic relation.”1 Because of this, your interest in a photograph can always be reduced to an interest in what the photograph pictures, which we’ll call (following some philosophers) the “pro-filmic event,” or to some nonphotographic manipulation of the photographic image after it is formed. Your appreciation of the photograph can never be an appreciation of it as a photograph, because there is no way for a photograph to show something, precisely as it appears, exactly because the photographer means what the photograph shows. And that is because of the kind of action taking a photograph is, on Scruton’s account. You can take a photograph intentionally, but you cannot intend the photographic image itself. The image is an unwilled, merely mechanical copy of the pro-filmic event

False Gods: Authority and Picasso’s Early Work

In his Literary Interest: The Limits of Anti-Formalism, Steven Knapp discusses some revisionist biblical criticism. This materialist criticism uses social history to recover contexts for biblical history, and does so specifically for the purpose of casting doubt on canonical biblical texts. The substance of the accounts is not my interest here, nor are the aims of their revisions. What I am concerned to trace is a problem Knapp finds in them generally. The problem is: if you question the sacred texts in light of historical circumstances, why do they still matter to you? “The answer,” as Knapp puts it..

Introduction & Modernisms and Authority

Modernism and Authority presents a provocative new take on the early paintings of Pablo Picasso and the writings of Guillaume Apollinaire. Charles Palermo argues that references to theology and traditional Christian iconography in the works of Picasso and Apollinaire are not mere symbolic gestures; rather, they are complex responses to the symbolist art and poetry of figures important to them, including Paul Gauguin, Charles Morice, and Santiago Rusiñol. The young Picasso and his contemporaries experienced the challenges of modernity as an attempt to reflect on the lost relation to authority. For the symbolists, art held authority by revealing something compelling—something to which audiences must respond lest they lose claim to their own moral authority. Instead of the total transformation of the reader or viewer that symbolist creators envision, Picasso and Apollinaire imagine a divided self, responding only partially or ambivalently to the work of art’s call. Navigating these problems of symbolist art and poetry entails considering the nature of the work of art and of one’s response to it, the modern subject’s place in history, and the relevance of historical truth to our methodological choices in the present.https://scholarworks.wm.edu/asbookchapters/1122/thumbnail.jp