Francis J. Dance and John L. Wallace
For a full realisation of the packaging advantages of leadless ceramic chip carriers, these devices will be surface mounted on large area printed circuit boards. However, thermal…
Abstract
For a full realisation of the packaging advantages of leadless ceramic chip carriers, these devices will be surface mounted on large area printed circuit boards. However, thermal management and solder joint reliability concerns preclude the usage of conventional board materials and manufacturing processes in most high reliability applications. A new approach for achieving rugged, large area PCBs, incorporating thermal planes and the necessary thermal expansion match to chip carriers is described in this paper. The approach is based upon the use of a clad metal core substrate material fabricated from high conductivity copper and low thermal expansion rate Invar TM, a 36% nickel‐64% iron alloy. Mechanical, electrical and thermal properties of this clad metal are presented as well as techniques for adaption of PCB and porcelain/thick film technologies. Finally, other potential applications for this clad metal in the electronics industry are discussed.
SMT is finding a growing user base. Stephen McClelland looks at future prospects and reports on the efforts of one of the leading practitioners of the field, Cambridge Consultants.
The purpose of this paper is to explore how a group of dirty workers, that is, exotic dancers employed in a gentlemen's club, engage in identity construction amidst various macro…
Abstract
Purpose
The purpose of this paper is to explore how a group of dirty workers, that is, exotic dancers employed in a gentlemen's club, engage in identity construction amidst various macro, meso and micro considerations.
Design/methodology/approach
This study adopts a social constructivist approach in exploring the stories of a group of 21 dancers employed at a chain of exotic dancing clubs in the UK, For Your Eyes Only.
Findings
Identity construction is a complex process whereby dancers struggle to secure a positive sense of self among the various resources they encounter. The findings focus upon the processes of distancing through projecting disgust upon clients, other dancers and other clubs. Dancers do this to minimize the stigma associated with their own identities and position themselves in a more favourable light to others. In doing this, dancers construct a variety of identity roles for themselves and “others.” This process of distancing also results in the construction of a hierarchy of stigmatization whereby dancers categorize motivations for dancing, type of dancing and type of clubs to rationalize the work they perform and manage their spoiled identities.
Practical implications
The stories of these dancers illustrate the messy nature of identity construction for dirty workers. In turn, it also illuminates how a better understanding of the complexity of identity construction for exotic dancers can offer insights transferable to other dirty work occupations and organizations in general.
Originality/value
The paper provides an indepth look at an occupational site that is relatively unexplored in organization studies and thus makes a unique empirical contribution. It also offers a more comprehensive theoretical lens for understanding identity construction and dirty workers.
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Two basic theses of G. H. Meads social psychology are: (1) Using gestures that influence sender and receiver in similar ways contains a reinforcing effect for both. (2) Under…
Abstract
Two basic theses of G. H. Meads social psychology are: (1) Using gestures that influence sender and receiver in similar ways contains a reinforcing effect for both. (2) Under specific circumstances they also create new psychic domains, for example, consciousness of meaning, object, and the Self. The elementary levels of these processes are studied in social psychology, infant psychology, and lately in neuroscience.
One arena for studying these processes in adults is dancing, where spontaneity, emotionality, childish physical identification processes, and trajectories of the Self can coexist with cognitive planning and social regulation. I interpret this in a session of “Lunch Beat,” analyzing a layman interview on dancing during lunch break. The arena includes the differences between work obligations and the temporary freedom under lunch. One point is the creativity that may grow in the abrupt meeting of work demands and free physical sociality in dancing.
Interpretations conclude that participants’ experiences are: (1) energy production, (2) experiencing the world outside of “the box,” (3) expanding by denying “musts” for an hour, (4) meeting new people in both Others and Self, (5) creativity in changing arena from work to free time, and (6) meeting the not expected.
All interpretations are drawn back to basic theses in Mead.
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The practice of ‘city-making’ – a civic-led form of urban development – is currently gaining attention from urban professionals and scholars across Europe. Whereas scholars have…
Abstract
The practice of ‘city-making’ – a civic-led form of urban development – is currently gaining attention from urban professionals and scholars across Europe. Whereas scholars have so far focused mostly on the conditions that make such civic-led urban development possible, little research has been dedicated to the skills and capacities of city-makers. This challenge is taken up in this chapter. Interviews with city-makers across Europe reveal that whereas knowledge of socio-spatial processes and process competences are important, city-makers also deploy a third set of skills, including the ability to act in the moment, adapt to contingencies and connect personal drivers to city-wide processes. This third set of skills is further conceptualised, by drawing out an analogy with Deleuzian-Guattarian lines of flight and modern dance improvisation techniques. Four dance improvisation techniques are discussed more in detail and compared with the practices described by the city-makers interviewed for this study. The concluding section of this chapter speculates on how the notion of improvisation could be adopted within wider practices of spatial planning and urban governance as well.
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Antje Bierwisch and Marina Schmitz
In an era of polycrisis, we argue that responsible leaders need to unlearn common thinking patterns imprinted by old (management) paradigms in order to find new solutions to the…
Abstract
In an era of polycrisis, we argue that responsible leaders need to unlearn common thinking patterns imprinted by old (management) paradigms in order to find new solutions to the grand challenges of our time. To be able to overcome the “crisis of the imagination” and spur narratives about more sustainable futures, leaders need to update and restructure their skill sets and invest in developing anticipatory and futures (thinking) skills, as well as futures literacy as a competence. To achieve this on the student level, we also need to rethink business and management education at the university level by challenging the ways we teach, i.e., teaching pedagogics, as well as the content and story we want to tell about the future of management. Thus, with this chapter, we aim to rethink pedagogical methods and tools by introducing educators to potential pathways for equipping students with adequate skills to be able to “use-the-future”. As the process of unlearning is difficult, we argue that we need to venture out of the business discipline and push the barriers of the business and management curriculum so as to be able to further unleash creativity and imagination. To achieve this aim, we propose the integration of methods and approaches from art-related disciplines, such as theater, visual arts, or design, into the business curriculum.
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Sarah Barnett and Heather Drew Francis
This paper describes how a pre-service teacher’s knowledge and pedagogy changed as she documented her reflective practice while teaching arts-integrated lessons in a fifth-grade…
Abstract
Purpose
This paper describes how a pre-service teacher’s knowledge and pedagogy changed as she documented her reflective practice while teaching arts-integrated lessons in a fifth-grade classroom during her pre-service teacher preparation program. The pre-service teacher spent three-months conducting an action research project in collaboration with a university mentor.
Design/methodology/approach
This paper explores what she and her mentor learned as she prepared arts-integrated lesson plans based on the four studio structures for learning and analyzed them along with identifying and documenting evidence of deep learning through field notes and video recordings.
Findings
Analysis of field notes, video recordings and lesson plans led the authors to take a deeper look at where the four studio structures for learning overlapped in the teaching event. In the data the intersections of the four studio structures shared a pattern of increased evidence of deep learning for the students. This paper describes the phenomenon in the classroom at various points of intersection.
Research limitations/implications
This action research study is preliminary, and the findings are suggestive of further research that would require indexing what deep learning looks like and gathering and analyzing student data.
Practical implications
It is recommended that teachers use the four studio structures to integrate the arts in their classrooms and to enhance and encourage creativity, communication, critical thinking, collaboration, character and culture and as teachers work toward deep learning for students.
Originality/value
This case shows how a university partnership provides fertile ground for educators of all skills and experience to participate in the expansion of the field of education as well as personal and professional development.