Packaging printed circuit boards: A production application of interactive graphics

The structure and use of an Interactive Graphics Packaging Program (IGPP), conceived to apply computer graphics to the design of packaging electronic circuits onto printed circuit boards (PCB), were described. The intent was to combine the data storage and manipulative power of the computer with the imaginative, intuitive power of a human designer. The hardware includes a CDC 6400 computer and two CDC 777 terminals with CRT screens, light pens, and keyboards. The program is written in FORTRAN 4 extended with the exception of a few functions coded in COMPASS (assembly language). The IGPP performs four major functions for the designer: (1) data input and display, (2) component placement (automatic or manual), (3) conductor path routing (automatic or manual), and (4) data output. The most complex PCB packaged to date measured 16.5 cm by 19 cm and contained 380 components, two layers of ground planes and four layers of conductors mixed with ground planes

A consideration of three phases of industrial education

This item was digitized by the Internet Archive. Thesis (M.A.)--Boston Universityhttps://archive.org/details/aconsiderationof00tem

Art in the Service of Colonialism: French Art Education in Morocco 1912-1956, by Hamid Irbouh [book review]

It is clear that Art in the Service of Colonialism fills a distinct lack in the body of art historical scholarship. Irbouh counters the inclination to champion “fine art” as African art history races to document modernisms that are slipping through scholars’ fingers, as archives disintegrate and a generation of independence era administrators and artists age. Many are attempting to both interrogate and preserve legacies of pre- and post-independence modernity. In this moment of intense art historical work, we often focus on archives of national universities, painters living in the metropole, sculptors who shaped national monuments. But, Irbouh reminds us, we must not ignore the sometimes unfashionable world of art education and pedagogy beyond the university. The roots of modernist traditions currently catching our disciplinary attention lay in the colonial programs that formed the visual cultures of incipient nations

Dust of the Zulu: Ngoma Aesthetics after Apartheid [book review]

Just as a ngoma performer prepares an audience in voice and motion of the competitive comradery that is at the core of this art form, Meintjes places herself in a performative space in her poetic two-page preface. Punctuating each paragraph with the first person, Meintjes reminds readers “I write,” “I listen,” “I hear,” “I notice,” “I register,” “I approach.” She also contextualizes her first book, Sound of Africa: Making Music in a South African Studio (Duke University Press, 2003), as one moment of studio work drawn from the broader context covered in Dust of the Zulu

Ceramic Displays, African Voices: Introduction

African ceramics in museums have historically been displayed in a manner that employs coded ‘norms’ borrowed from exhibition practices of western anthropological or historical modes: ‘ethnic’, geographic, gendered. To confront these over-generalizations Dr. Elizabeth Perrill and Wendy Gers assembled a group of scholars to present in the panel, ‘African Ceramics on Display: Beyond Didactics and Demonstrations,’ at the 16th Triennial Arts Council of the African Studies Association (ACASA) Symposium, 2014. Introductory comments were presented by Wendy Gers followed by formal papers given by Moira Vincentelli, Esther Esmyol, Ozioma Onuzulike, and Kim Bagley; a discussant presentation was delivered by Robert T. Soppelsa, Senior Curator of Art in Embassies for the U.S. State Department and discussion was moderated by Elizabeth Perrill. The United Kingdom, South Africa, Nigeria, and the United States all had voices at the table. The panel’s motivations and theoretical underpinnings and the group’s efforts to foreground non-hegemonic voices in the world of African ceramic display are here in presented

Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa [book review]

The project of recentering histories is at the core of both the exhibition and catalog Caravans of Gold, Fragments in Time: Art, Culture, and Exchange across Medieval Saharan Africa. When art historians speak of recentering, the contemporary art world, biennials, and online media spring to mind quite readily, but shifting perceptions can seem Sisyphean in earlier time periods. Bringing the discursive practice of recentering to fruition in an exhibition of the medieval world requires extensive institutional collaboration and wherewithal. The labor required expands exponentially when one is dealing with an entire continent, namely Africa, that is still portrayed and positioned as peripheral. Well, there are now no more excuses for keeping Africa on the edges. Kathleen Bickford Berzock and her team, including partners from six nations, have brought together fragments of archaeological pasts, valued trade goods from trans-Saharan networks, sacred Islamic texts, and some of West Africa’s most iconic sculptures. Thirty-two lenders contributed over 250 works to this exhibit and its accompanying catalog, and from this point forward, any new medieval or ancient African art history course has no excuse for ignoring, marginalizing, or diminishing the material and cultural sophistication of the trans-Saharan trade

African Art and Agency in the Workshop [book review]

African Art and Agency in the Workshop, edited by Sidney Kasfir and Till Förster, is the ideal outcome of a disciplinary conference. The sixteen essays in this volume, products of the 2007 Arts Council of the African Studies Association Triennial Conference, interrogate an underlying and often unquestioned inter-disciplinary category: the workshop. Contributors address artistic production in African nation-states and multinational-states, as well as at least one workshop model operating through global networks. This worthy addition to Indiana University Press’ African Expressive Cultures series contains a broad array of data derived from archival research and fieldwork, as well as artists’ observations drawn from direct workshop participation

Burnishing History: The Legacies of Maria Martinez and Nesta Nala in Dialogue: Part I: An Historian’s Perspective

This article is in two parts. “Part II: An Artists’ Conversation” immediately follows this article. As a complimentary historical overview, this text seeks to contextualize the Martinez and Nala families’ early entrées into high-end, nonindigenous markets. As such, the 1910s–1920s and 1980s–1990s are extensively discussed in the context of the Puebloan and Zulu regions, respectively. Although the rise of Martinez and Nala as doyens of art-pottery took place in these two locations nearly three-quarters of a century apart, the rhetorical devices of death, purity, and archeological inspiration used are strikingly similar. A full picture of the intercultural negotiations, both interpersonally and aesthetically, in which Martinez and Nala took part is impossible to portray in one article. Rather, the author traces the parallels between portrayals of these famous women and the comparative views of the Martinez and Nala lineages that have led to multiple references to Nala as “the Maria Martinez of South Africa.” The meanings of this comparison and the infrastructures of support surrounding each family are juxtaposed, and the challenges facing South African potters seeking to replicate the successes of the American Southwest are highlighted

Fired: An Exhibition of South African Ceramics & All Fired Up: Conversations between Kiln and Collection [exhibition review]

In a remarkable moment of curatorial synchronicity, Esther Esmyol of the South African National Iziko Museums and Jenny Stretton of the Durban Art Gallery both recently launched historic South African sculptural, decorative, and utilitarian ceramic retrospective exhibitions. Choosing curiously similar titles, "Fired" and "All Fired Up," Esmyol and Stretton have responded to the intense energy behind the South African contemporary ceramic market

South African Rubber and Clay: Material Challenges to the Global Nomad

Artistic nomads described in Nicolas Bourriaud's Altermodern are the elite darlings of the contemporary artworld. Yet these transgressors of national boundaries often fail to engage with or slowly abandon local audiences and iconography. Through an analysis of several South African artworks, this article proposes that Okwui Enwezor's alternative concept of the ‘aftermodern’ is particularly relevant for those working against nomadic superficiality. South Africans Nicholas Hlobo and Clive Sithole are discussed as counterpoints to facile reliance on transnationally recognised sign systems. The both personally idiosyncratic and culturally bound meanings of these artists' materials and significations create subtle oppositions to globalising homogeneity. Utilising material iconographies and histories akin to those of Joseph Beuys, ‘aftermodern’ artists challenge superficiality by privileging local connections to chart new gender constructions and identities through media specificity and subtle linguistic play