Academic literature on the topic 'Histoire Lithographie'

Un ancien régime typographique: Culture manuscrite, société graphique et ponctuation turque ottomaneLa présente étude substitue une analyse technique et graphique des opérations typographiques à l’approche politique et culturelle qui met habituellement l’accent sur les obstacles opposés à l’apparition de l’imprimerie dans l’Empire ottoman. Au-delà d’une démarche historiographique centrée sur les échecs de la modernisation culturelle, un examen combiné des caractères typographiques et des signes de ponctuation invite à proposer une histoire conjuguée de l’imprimé et du manuscrit. Celle-ci, tournée vers l’étude des vitalités textuelles, met au jour des convergences entre les productions calligraphiques, les expérimentations de la typographie et les progrès de la lithographie. Elle relie le travail du typographe aux actions de la main, les activités de l’éditeur aux productions de l’auteur, l’impression des matrices aux inscriptions de la plume. La ponctuation est un terreau d’innovation qui propose, au fil de ses modalisations, de nouvelles insertions, créations et hybridations contribuant au développement de la société graphique ottomane : les gens de l’écrit (scribes, copistes, lettrés, mais aussi éditeurs, typographes et imprimeurs) produisent des textes en fonction d’une culture manuscrite, de contraintes techniques et des caractères propres à la langue turque ottomane. Dès lors, une approche technique de l’ensemble des formes de production écrite permet d’ouvrir un nouveau chantier : celui d’une histoire croisée de la langue et des textes.

Although books on the history of Central Asian petroglyphs have been widely published, no scientific research has been carried out in this regard to date. Of course, there are specific reasons for this situation, first of all, the rise of ideas that the people of Central Asia were backward and illiterate in the period before the October coup d'état of 1917, attempts to falsify knowledge about historical periods that educate the population in the spirit of patriotism and freedom, the study of lithographic books about history hindered in a way. Also, the focus on handwritten books in the coverage of historical processes has led to the exclusion of historical lithographic books. However, lithographic books were important not only from a source point of view, but also from a social point of view. It should be noted that the wider spread of manuscript books, as well as the social factor of lithographic books, allowed for the wide distribution of important historical sources among the population. Taking into account the fact that the work “History of Mullozoda” was published several times in lithographs, it is possible to know how widespread it was among the population [1].

Abstract The new printing technique of lithography, which flourished in the early nineteenth century, has been examined for its connections to Romantic ideals of artistic subjectivity, to the liberal press, and to a boom in visual media. This article centers lithography’s unique materiality to investigate the significance of its new technique—its use of limestone—that establishes compelling connections to natural history and new conceptions of time. Eugène Delacroix’s (1798–1863) unruly marginalia, which populate the borders of the first printer’s proofs of his 1828 lithographic illustrations of Johann von Goethe’s (1749–1832) Faust, serve as a case study. Drawn on and printed from lithographic limestone, the marginalia can be interpreted as fossils. This article examines how lithography facilitated new conceptions of history, time, and memory that provided grounds for a Romantic artist like Delacroix to blur the boundaries between the human and the earthly, the artificial and the natural, the ephemeral and the historic, to find within the liminal the production and reproduction of transgressive forms that persisted throughout his artistic oeuvre.

This article traces the cultural history of a portrait format popularised through the global expansion of lithographic printing. This format combined a traditional portrait vignette with a lithographic facsimile of the sitter’s signature. Such ‘facsimile-autographed’ portraits evoked the notion that sitters had physically signed their own likenesses – testifying not only to the veracity of the depiction, but displaying an indexical trace of embodied agency. The article argues that this format afforded a particularly cogent way to conceptualise and communicate ideas about selfhood and society in liberal, romantic, and nationalist political programmes. Such lithographic portraits did not simply ‘encode’ or ‘reflect’ these new ideas, however, but were part of a technological revolution that decentralised the production of mass media and thereby reshaped the societies in which such novel ideas flourished. By connecting the various expressions of public selfhood found in facsimile-autographed portraits to the way lithography expanded audiences and reshaped modes of conceptualising public and private life over the course of the nineteenth century, this article argues that established scholarly concepts like the ‘romantic self’ or ‘liberal self’ might be reconsidered through a new, technomaterial heuristic: the ‘lithographic self’.

Abstract This article explores how considerations of deep time—not just deep human histories, but inhuman ones as well—can help us re-evaluate postcolonial literary works in the wake of the Anthropocene. I focus on the representation of “lithic time” through a reading of the Martinican writer Patrick Chamoiseau’s novel Slave Old Man. Chamoiseau’s novel has had some traction in animal studies recently because of his conjoined portrayal of the mutual degradation and eventual enslavement of a human and a dog in a colonial plantation in Martinique. I argue, however, that a consideration of stones and lithic time in the novel facilitates a push beyond the located aspects of interspecies relationships and opens portals to contemplations of the inhuman dimensions of geohistorical time. This article looks at the inhuman temporal dimensions of stone in Chamoiseau’s novel, while simultaneously reflecting on how a deep time perspective can assist us in reconceptualizing postcolonial literary analytical strategies.

Since G. Moore’s historical observation [1] that the functionality per chip (bits, transistors) as well as MPU performance (clock frequency in MHz × instructions per clock = millions of instructions per second) doubles every 1.5 to 2 years, the semiconductor industry has continued to grow to over 600 G$ in 2022 [2]. The IRDS 2022 Roadmap [3] catches the scaling challenges faced for the upcoming decades by the term ‘3D Power Scaling’. This period is the third in a sequence of eras that started early on with straightforward geometrical scaling by continuous shortening of the wavelengths (from regular UV to deep UV/immersion) used in the lithographic patterning of planar transistor structures (Fig. 1a). In the second, almost past ‘equivalent scaling’ era, new superior material properties and critical dimensions nearing single-digit nanometer values could still be realized by cost-effective technology solutions, often in spite of the delay in (EUV) lithography solutions. Ever more complex device architectures requiring extreme edge placement accuracy, layer conformality and shape fidelity in all processing steps (deposition, etching) could be fully 3D-integrated into vertical intra- and inter-chip concepts (Fig. 1b) thus alleviating the need for new capital-intensive lithography tools capable of higher resolution (~ 40% of total tool costs). Figure 2 illustrates the development in the past 65 years of the non-lithographic technologies that have sustained Moore’s Law, as driven by continuous downscaling of CMOS devices. Two extra trends have set in half way (~1993): single-wafer processing and heterogeneous device integration. The latter development, often coined as More than Moore, a term that was introduced in the 2005 ITRS Roadmap, and refers to the silicon-compatible integration of devices with functionalities that do not necessarily scale according to Moore's Law, but provide additional value in different ways. The More-than-Moore approach allows for the incorporation of non-digital functionalities (e.g., RF communication, passive components, power control, sensors, actuators) that can flexibly move from the system board-level into the package (SiP) or onto the chip (SoC). We will discuss a kaleidoscopic view of the author’s activities in Rapid Thermal Processing, RIE etching for TSVs, RF-SIP integration of passives, and Atomic Layer Processing (deposition, etch, and cleaning). In sub-10 nm scaling and fabrication of 3D architectures, especially the techniques of ALD and ALE have manifested to cost-effectively bridge the record incubation time needed to bring EUV technology from prototype to commercial use. More importantly, these unique techniques can be used to create advanced devices in dedicated isotropic (thermal and radical-enhanced) and anisotropic (directional and ion-enhanced) processing modes. Here, energetic species (radicals and/or ions in a plasma) are used in one or two steps, with the ions yielding anisotropic profiles (used in FinFET logic and 3D NAND memory), and neutrals and radicals yielding isotropic profiles used to deposit or etch the features in horizontal nanowires, nanosheets and ‘forksheets’ in GAA-FETs. 1. G. Moore, Cramming more components onto integrated circuits, Electronics 38(8), (1965) 114-118. 2. https://www.semiconductors.org/global-semiconductor-sales-increase-24-year-to-year-in-october-annual-sales-projected-to-increase-26-in-2021-exceed-600-billion-in-2022/ 3. International Roadmap for Devices and Systems (IRDS™) 2022 Edition - IEEE IRDS™. Fig. 1. a) Different scaling ages for device manufacturing; b) the planar-to-GAA transition; after [3]. Fig. 2. Historic and future perspectives of non-lithographic key technologies in IC scaling. Figure 1

This article is a continuation within a research series, which deals with hand written and early printed books, which constitute a Manuscript Collection housed at the Karakalpak Institute of Humanities of the Karakalpak Branch of the Academy of Sciences of Uzbekistan (City of Nukus, Karakalpakstan). The Collection contains several hundred manuscripts, early printed books and lithographs in Arabic, Turkic and Persian languages from 18th to the middle of the 20th cent. This diverse Collection itself is a clear evidence of the development of the book culture in Karalpakistan. An important part of the whole Collection is a recently acquired subcollection of ca 150 items (handwritten, early printed and lithograph books) mostly from the 19th–20th cent., which did belong to Sali Bauatdinov. The sub-collection comprises tafsirs, works on fiqh, Turkic Sufi literature (Sufi Allah Yar) and Persian poetry, Arabic fiction of the 20th century, etc.Work in progress on this collection, which includes description and attribution of various items was started last year.

ABSTRACT By the middle of the nineteenth century, the development of bird’s-eye views, or panoramic lithographic maps, became a popular vehicle for Americans to promote their towns and cities. Today, they are important for understanding late nineteenth-century geography, the spatial layout of towns, and architecture. Examination of one of these maps, “Miner’s Mills and Mill Creek,” in the anthracite region, shows the care and precision of the mapmaker, T. M. Fowler. A deeper reading of the map enables us to reveal a more complicated story of the community’s past. Researching the history of one anthracite town shows how the anthracite industry led to environmental, social, and psychological trauma, which continues today. While coal mining is now almost nonexistent, a social history of anthracite communities represented via panoramic lithographic maps can provide a long-term history of past traumas.

James Hall, like other authors and editors of 19th-century American state and federal surveys, learned first hand that publishing illustrations was time-consuming, frustrating and expensive. But illustrations were indispensible, providing the graphic communication of morphology that justified the author's taxonomic decisions. That essential information, however, passed through the hands of an illustrator and either an engraver or lithographer before it reached the scientific audience that would test and judge it. Artists and printers, therefore, needed close supervision; plates required careful proofing and sometimes cancellation. Hall, like his colleagues, vastly underestimated the time and expense that his project would entail. The plates illustrating the Palaeontology reflected changes occurring in American science and printing. Over the decades spanned by the publication, picture printing techniques changed from craft to industry, and converted from engraving to lithography; so did the New York survey. Meanwhile, the scientific profession developed illustration conventions to which publications with professional intent increasingly conformed. These conventions combined standards of "accuracy" with issues of style to reflect both scientific activity and its social context. The early illustrations drawn by Mrs. Hall were no less "accurate" although clearly less polished than the collaborations between R.P. Whitfield and F.J. Swinton, or the later work of J.H. Emerton and E. Emmons, Jr. The artists and printers of the Palaeontology plates emulated and contributed to the emerging national style of zoological and paleontological illustration, and thus helped consolidate the "look" of American science.