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Inspired to make a sculpture for two ballet dancers. An abstractions of dancers, The stand raises the viewers sightline to the core. ©JGarvey
Energy in Flow
A vessel representing the three parts that evolve with experience: thinking feeling, movement. 2013 © JG 42 "X 11"
Two inch round forged upsets using my Chambersburg 4H hammer; then welded into the cantilever frame.
Three Forces are: moving, thinking, and feelings. They develop inside us. If it is not out of balance they can suspend a sphere, the essence and personality that is our psyche. In this abstract view, we all suppose that we set out to suspend a dense matter and dance about weightlessly. Note, this piece was revised in 2013 with the increased size sphere.
This piece is an abstract representation of the principles of personal development which are advanced in the teaching of G. I. Gurdjief. The piece was created in the fourth out of ten years which were spent at an exclusive school based on these teachings, the Rochester Folk Art Guild in Middlesex, New York. Together, the tripod and the sphere symbolize a harmonious balance. The appearance of these symbolic elements is a vestige moment for the artist because it is a deliberate melding of artisan experience with an original 'vocabulary of forms'. Square bar -- mechanical form -- relates to a person's mind and mental reasoning, aspects such as intelligence. Round bar -- organic form -- relates to the bodies' physical force and desire, aspects such as strength, agility, and hunger. Flat bar -- in ribbon like form -- relates to a person's feelings such as: emotions, moods, genuine sentiment. These three aspects of a person's psyche, working in harmony with each other, support the SELF, which is apart from these aspects of a person, and which is intangible, and it needs very fine quality "impressions" to mature and become strong. The dense sphere represents the self. And, in this case, it appears healthy and vital. There is an illusion regarding weight that is inferred with this form , the dense heavy mass appears to be hovering, free from inertia. The sphere is a form that eludes to nascent development. With its three appendages acting in a unanimous fashion, the sphere is poised to animate itself in an instant. The hammer marks remain somehow apropos in consideration of the actual increments of development as the members at this school were shaped by the skill and expertise of a master craftsman, Mrs. Louise March, the director of the Rochester Folk Art Guild.
This piece began of a series of seven sculptures where a Star is supported by a tripod, the interest being a form which represents extraordinary autonomy.
Three Forces are: moving, thinking, and feelings. They develop inside us. If it is not out of balance they can suspend a sphere, the essence and personality that is our psyche. In this abstract view;, we all suppose that we set out to suspend a dense matter and dance about weightlessly.
What is the inspiration for these early sculptures? As a freshman in Mechanical Engineering, I was required to take a course in humanities. Each time we met, we discussed a new page of Hamlet. The writing resonates in the realm of collective intelligence; it is like the Gettysburg Address, or the Declaration of Independence, "These truths are self evident..." Shakespeare inspired me to respect sentient intelligence that can be perceived by any person, apart from academics or wealth. Reading Shakespeare is like going on a campout; everyone at the campsite appreciates a campfire when the night comes. Using secular language there is a visceral affect that is able to awaken a presence of wonder. I felt that I was a kin; I knew where the work came from in Shakespeare's writing. I went to many art exhibits; only one piece had such a connection. I became convinced that I can create objects that resonate as strong as the work of Shakespeare because it would come from the same place.
What is constant? There is an attention fueled by interest that is accessing a large map of impressions stored in my mind. An anonymous wit is functioning as my inner browser; then, there is a form idea that comes to mind.
Most of these pieces are made at the Rochester Folk Art Guild,1974 to1985. I received attention from Mrs. Louise March; a teacher for a rigorous program of self development. I believe she was extraordinarily patient with me; she made it possible for me to have time and a place to develop a "way to work". In 1885, Mrs. March sent me away; I moved to NYC; I began work at the Statue of Liberty. She took full credit for any contribution I may have made to keep the project on schedule during the replication of the armature bars. Liberty Star was conceived and built while I was working at the Statue; after work, I was a participant at the Athena Foundation, a studio opportunity conceived by Marc DiSuvero for emerging sculptors.
Attention Star was a breakthrough conceived twenty-two years after the start of the Star Series. I was sitting with Barbara and Tammy waiting for a Kirosawa Movie to begin at the Film Forum.
Photos in this gallery are taken by the talented photographers: John Greibsh, Michael Burnett, Fred Gilbert, and Susan Bein.
ATTENTION STAR: the 'star' that one perceives is a negative space; a 3-diminsional silhouette defined by the forged armature. It functions as a reminder to pay attention. forged 1.75" round bar
Fourteen exercises are presented; each one has a drawing with text that is accompanied by a model for a custom fixture. These models are 1:4 scale; like a diorama with scale figures, the artist is explaining for the viewer, how the fixture is utilized as a means to sustain personal integrity. See the drawings.
James Garvey's Objects for Personal Ceremony: 'An Appreciation'
by Roger Lipsey, scholar January, 2009
The first things to notice are sweetness and clarity. This sequence of works is friendly to the human species; it wants us to live well and shares a clear-eyed experiment in living. "These pieces demonstrate an idea," writes the artist. "Suppose it is necessary to stop being vague and proceed to care about individual interests…." There must have been an analytic phase in his preparations: after all, what individual interests really matter? His response takes the form of 14 Objects for Personal Ceremony dedicated to essential experiences. The roster of essential experiences is idiosyncratic, to use a word favored by James Garvey—someone else might have focused on something else, though the wisdom of his choices is one of the delights of the sequence. A word still filled with ancient Greek music, "idiosyncratic" derives from idios, "one's own," and syn-krasis, "mixture": this is Garvey's own mixture of the ingredients in every life.
It's worthwhile to run down the roster: seeing (especially seeing into oneself), magic, decision making, unconstrained joy, protecting things of value, exercising and developing attention, a spa or relaxing bath that gives access to more of one's experience, restoring pride, concentration, regaining psychological balance, dressing to liberate rather than limit, cultivating a capacity for interest, preparing food and dining with others as an exercise in awareness, and closure—ending life passages in a wise, ceremonial way.
Each Object is accompanied by a drawing that demonstrates its use and provides brief explanation, partly in the style of an instruction manual but with echoes from elsewhere that need to be explored. Though the notion of an Object for Personal Ceremony may sound self-enclosed, the drawings correct that misconception. Someone else—family, friends, even crowds—is always there to witness, participate, assist. The persons invited to the ceremony are all of us.
Echoes from elsewhere—but where? Garvey's texts are declarative, undramatic, at times touched with humor, and they are necessary: we wouldn't know how to use or understand the Objects without advice. The texts and drawings support the existence of the Objects, help them become firm parts of this world. And there is, indeed, a paradigmatic work of art in Modernist tradition that initiated this tone and strategy—one that inspired, over the years, innumerable works by other artists. Marcel Duchamp's "Large Glass" of 1915-23 (Philadelphia Museum of Art) and his related publication, the so-called "Green Box" overflowing with cryptic notes and sketches about the "Large Glass," is the grandparent or great-grandparent of the Objects for Personal Ceremony.
But Duchamp's irony, deliberate obscurity, and entertaining wickedness are nowhere to be found in the Objects and commentaries. The moral seriousness here reflects some other world of values. What comes to mind, not as an immediate ancestor but as a solution to a similar expressive challenge, is the traditional presentation of key moments in a saint's life, found, for example, in the Russian icon tradition (fig. 1). These stations of a life, accompanied by brief explanatory texts, are no t unlike the stations of life in Garvey's sequence. The moral seriousness, updated to our own era and concerns, is the same.
Now where are we in this effort to understand? We are perceiving a fully contemporary work of art—something new and uplifting, but also touching and fun—that has hidden roots in two worlds: the fiercely brilliant, idiosyncratic Modernism of Duchamp but also the steady tradition of Christian pictorial narrative. In holding up these two mirrors to James Garvey's Objects for Personal Ceremony, we may well be reflecting something of the light that fills him.
Note, the Drawings and OFPC sculptures were first exhibited at ROCA in 2010. the curator was Lynn Stein, the hardest working art director I have ever met.
Photos in this Gallery are taken by Fred Gilbert, Photographer, NY
I use this Object for Personal Ceremony to generate INTEREST. I walk in a figure "8" along the edge of the yard. I step along the helix stair rising above the yard and descend back into the yard. The course is symmetrical in form as well as with time and physical movement. I think this is why I welcome the complexity. I don't try to change breathing or walking. I don't try to stop associations. I can easily go 20 times around.
OFPC Video by Fred Gilbert, 2010 14+ minutes
These pieces demonstrate an idea, "Suppose it is necessary to not be vague with one's ability to care about individual interests: joy, attention, routine." I created each object along with the ceremony described to enable me to be active with my psyche in a practical way.
I use this Object for Personal Ceremony to make DECISIONS. I set an appointment for myself with lead-time to pursue a question that hovers. Then, if I am ready, I unlock the vessel and hold the mica star. I remember how much work is really called for in whatever I try to do. I proceed to tip the star and flow the mercury to different spires as I am considering my reasons and my feelings. As soon as determination arrives the star is put away.
With this Object for Personal Ceremony I realize the most precious asset of psyche, my ATTENTION. Using the continuous armature bar of the Star I imagine a glow moving along to the end of a spire. I imagine the glow proceeding back through the bend and out to the next spire. With a gentle pace I go to all nine spires and come back where I started. I go around several times and pause. I close my eyes, I imagine a sensation in my hand. I imagine it move along my arm, through my trunk, down my leg to my foot, continue to my other foot, my other hand, my head. I am quiet and listening for my pulse. I go for two or four rounds, and I let the sensation become still, and I imagine it spreading out beneath my skin.
This Object for Personal Ceremony is for SEEING traits I have inside. Although passersby can see through the gaps, it is easy to disregard them because the mirrors face me. I remember conversations; I try on headpieces; I get an idea for a new one. I think this is how most people exist.
This Object for Personal Ceremony is for SEEING traits I have inside.Although passersby can see through the gaps, it is easy to disregard them because the mirrors face me. I remember conversations; I try on headpieces; I get an idea for a new one. I think this is how most people exist.
I use this Object for Personal Ceremony to realize PRIDE. I decide to take walks and each day I pick a new Walking Stick to defeat tedium. On the day my pride rises I have my gold Neckpiece, my silver Bracelet, or my Viking Knot Ring, to wear until the day ends.
I use this Object for Personal Ceremony when my psyche goes out of balance. The Apparatus represents three aspects of my psyche: feelings, reasoning, and physical condition. Normally, the beams are not touching the ground and it revolves. Looking at my problem, I simulate the imbalance by pushing weight rings outward in accordance to the compromise for each beam; they drag; I ask a question relative to the imbalance; I rate the insight that is revealed for my understanding; I put corresponding counterweight pieces to relieve the drag for each beam. I simulate a recovery when the apparatus is able to revolve.
This Object for Personal Ceremony is about PROTECTION. At home I keep my titanium sword ready beside my bed. I demonstrate for my self, full force attack upon a wooden stump or upon a dummy of boxes. Like the Ancient Warrior I seek the impulse to course through me that protects what is inside.
Object for Personal Ceremony to aid my concentration. I made my desk; it is an idiosyncratic process that gradually wears off. My concentration is in short spurts; a 'single thought' is not longer than 12 seconds. I get glimpses of my self during concentration with a monitor of me working; it has a delay of fifteen seconds. I can measure my concentration by looking at flames. I open the curtain and study the flames rhythm for six seconds and then block the view. I remove the block, concentrate for seven seconds, and block the view. I continue eight seconds, nine seconds, ten seconds… I learn to realize the single thought that is active in me.
This Object for Personal Ceremony is an Idiosyncratic approach to DINING; it is my means to stop 'taking it for granted'. Biware has the center of gravity in the palm of the hand, like eating as an infant. Tongsware has control that a surgeon would be comfortable with. Conventional plates have been put away. JG Dining bowls need a forged crown at each setting. I learn to 'not spill' with Three Cones drinking vessel. Ballast Stand puts utensils and knives 'at hand' Triple Chamber Cooking is tricky, one pot with three dishes in a bed of embers. Flesh is seared on the griddle surface; I know the heat conducting from the bars of the grate; I compose the swirl imprint on the filet. The diners and the cook are together at the hearth sharing the impressions: the smell, the sound, the timing, and the flames.
This Object for Personal Ceremony makes me immune to attack by self-conscious criticism. As I remake the products for DRESSING, I transform the assumptions that were groomed in me. By realizing this idiosyncratic approach the way I conceive my personal presence is expanding.
This is an Object for Personal Ceremony to realize JOY. A Large Dragonfly Couple watches where I play: celebrating, singing, and dancing. I can be passionate with my desires and instinct. The Dragonflies remind me, they don't know what it is to be inhibited; their ancient code survives self-destruction.
This Object for Personal Ceremony brings me enjoyment that goes well beyond the physical pleasures of BATHING. It is conceived by my idiosyncrasy: I search for a form; I am not consciously aware as my mind is reaching across the map of my experience; eventually, sketches are possible, and from these glimpses I make it work.
This is an Object for Personal Ceremony when something ends. I schedule a Closure event. I invite persons and set a time; we pretend the well is 1000 feet deep; I address each guest even if they are not there. Notes are released into the well. I remember that my own ashes shall pass through this grate.
When I wish to demonstrate my ability to perform Magic I use this Object for Personal Ceremony. I convince myself the water will absorb my anger and start to boil. I recall the angriest time ever and I project this feeling to the water while I touch the glass with my Wand; If it does not work, I increase the feeling to include hatred; if it still does not boil, I decide to try a nicer approach; I consciously maintain a state of positive projection, I assume with all my capacity that the water will turn pink. When the feeling is bright and clear I touch the glass with the spire. If it doesn't work, I reason with myself, "I may need to resort to feelings that are less self centered". I gather a state of compassion for everyone I have ever known; then I touch the glass to make the water turn blue. If this still does not work, I try using my most embarrassing moment to make the water turn milky white. If that doesn't work, I try using my proudest moment to make the water turn deep purple. I keep trying until I use up my repertoire of magic powers.
Forged steel, 12 nInches high
Forged Steel, mica, and silver bands
Forged steel, 17 inches wide
Forged steel figure, fabricated tub tripod
Forged steel
Forged Steel, height 27 inches
Forged steel
Forged steel, brass dish
Forged steel, nickel plating
Allegory is first piece done while in NYC
Forged and sanded steel, height 67 inches
A wall mounted art work that is derivative from School of Spirits Entrance, 1996. 24" high, 19" wide, 6 " deep. forged steel
Forged Steel
forged and fabricated steel, 10 inches high
Forged and fabricated steel; 11 inches tall
Forged and fabricated steel; 42 inches tall
Forged and fabricated steel; 56 inches tall
Forged and fabricated steel; 17 inches tall
Forged and Fabricated steel; 19 inches long
A plug of 3" round bar is bumped round and on each end, split 3/4 way through and then swaged to give it waves.
finish: polished steel
Bronze 2' round bar upset and swagged
Finish: polished
Creases and coils on a 5/8" round bar.
finish: forge patina
Forged 3" round bar
Finish: forge patina
1/2 ' plate X5' high steel plate
Forged and brazed bronze
Finish: natural patina
Ceramics by Annie Schliffer, rochester Folk Art Guld, 1982
pace-maker for the macro cosmos
Nine sculptures are revolving; the work demonstrates going somewhere. The written statements enhance the way each form is understood. Vectors include: Learning, Protecting, Spousal Loving, Self Understanding, Time, Ambition, and more...
Nine objects depict going someplace: COMETpace-maker for the macro cosmos OCTOPUS SWIMMINGA courageous move by a creature that is Eight times more grounded than a snakeSELF-AWARENESSAn intimate perception, I am revealed as an autonomous entityFLYING FISHmaking it's way through atmosphere, ocean, or outer space; it has an organic frame with a hull piercing scull, an ion propulsion tail, and solar collector wings.BLOSSOM ARROWMy love is three times bigger than a real blossom. I cannot help myself… I am coming for you like an arrow in flight. CONSTANCEMaking mythical progress using ancient understanding; she has a helical lance at the readyLARGE HEARTThe residence for loveNO HANDSSorting through memories, "Hey mom, look at me, I am learning to ride!"TALONS OF LIBERTYMaking it so - "inalienable rights to be self-evident"
Forged and fabricated steel; 89 inches diameter
Forged and fabricated steel; mounted on welding positioner; height 94 inches
My love is three times bigger than a real blossom. I cannot help myself… I am coming for you like an arrow in flight.
A courageous move by a creature that is
Eight times more grounded than a snake
Making mythical progress using ancient understanding; she has a helical lance at the ready
The residence for love
An intimate perception, I am revealed as an autonomous entity
Making it so - That each of us has the inalienable right to be self-evident.
Making it's way through atmosphere, ocean, or outer space; it has an organic frame with a hull piercing scull, an ion propulsion tail, and solar collector wings.
Learning to ride
My interest was compromised by too many options; I limited my work to round bar and it came back stronger than before.
Fabricating metal is a ready indulgence for an ambitious sculptor. Industry has paved many paths to glory: low cost material, any size bar or sheet, versatile high performance processing equipment to perform polishing, plating, sandblasting, casting, stamping, and welding. I needed to find a self-prescribed treatment for the inner chaos. I was inspired by Hamada, a national treasure of Japan; he told the biographer he was grateful that the local clay was the only material he worked with; it is far from perfect clay. He was grateful for this challenge; his pots evolved within this limitation. I limited myself to round bars of hot rolled steel. I stopped working with rods less than 3/8' diameter. I pursued ways to replace fabrication with forging to create and assemble components. I stopped using store bought fasteners. I put away measurement tools; I began to do everything by eye. After several years at the forge, a number of unique form ideas occurred: Wing Surface Joint, JG Bends, Creased bar spires, Ring Stand base, Ballast Stand base, Cryptic Column, Viking Knot, and Gill surface.
Forged plate 3/4 inch thickness, JG bends on round bar 2 inch diameter.
The JG Bend; a knuckle-like form in which round bar is forged back onto itself before it proceeds in the new direction.
The recognition of the JG Bend as intellectual property has a great meaning for my career. If it is of any potential consequence, I do have a Copyright on the Ten Point Star and there are ten JG Bends that are components in the Ten Point Star. In my understanding of intellectual property rights, I would need a design patent or Copy Right for exclusive use of JG Bend as a design element.
The vocabulary of forms I developed at the forge; are recognized as original elements in my work: JG Bend, Cryptic Column Support (has Design Patent), JG Crease, lariat Seat Loop, Wing Surface Corner, Tripod Boss, Clevos Head, Three Rounds Handrail, Ten Point Star (has Copyright). Of these elements, the most recognizable element is the JG Bend. JG
The JG Money Clip can be retrieved quickly from front pants pocket; it has contour to lie flat; it can hold twenty bills. It is 4' diameter made with forged carbon steel.
Forged steel plate 3/4 inch thickness
Forged Steel, silver plated, length 5 1/2"
Three concepts: no fashion label because there is no handle to denote the style. The conventional protocol is simplified by introducing dual purpose utensils. And, the center of gravity has been positioned at the palm, it has a pronounced affect upon the diner's poise, somewhat like an infant with a short spoon delighting in the consumption of a delicious pudding. The affect is one of containment, free from self-conscious consideration. The etiquette with these utensils could be described as primitive, an unencumbered movement from within.
forged bronze, 2000
The Lariat series is based on an original form, the JG Bend; a knuckle-like form in which round bar is forged back onto it self before it proceeds in the new direction. JG Bend occurred at the forge twelve years after starting with blacksmithing. The designs include: benches, bike stand, litter stand, lot line fence and gateway, bollard, double entrance doors, street light, bollard ties, skateboard deterrent, tree guard, and emergency access gates for pedestrian zones. Each fixture received status as a Permanent Work of Art by New York Arts Commission; this involved multiple layers of regulatory compliance from agencies in NYC: Landmarks, DOT, Dept of Sanitation, Fire Department, MTA Engineering, and the local Community Board. The designs were installed at three parks in New York. Within ten years, half of these were displaced. Highly motivated newcomers would lobby with the succeeding administration for a place in Manhattan to realize their career. It became apparent, the most significant criteria for longevity is "administrative disfavor".
Lariat Street Furniture designs were conceived and realized with longevity that exceed the standards of industrial design. On a city block, the deliveries, carting and construction are routine, and anything on the sidewalk that cannot move on its own will get bumped, leaned upon, or used as a chain post. I imagine severe mishaps and work to realize fixtures that can survive in the range of 75 years plus. I have an advantage because I came to understand that it is necessary to unlearn fabricator mentality and realize a vocabulary with forging. The design approach is simple; the materials being used are solid. A blemish can be sanded down and the surface can be renewed. The soft corners of the JG bends are much friendlier to shin bones and fine clothing than the chipped corner of a cast planter. Armatures are made with solid bar stock, no tubing that tends to rust out from the inside. Gravity is used to perform the 'return action' in the Urban Monks Gate Latch; in order to simplify the components, a single pivot is designed with three-inch diameter solid stainless steel pin. There are no hinges to lubricate. There is no need to replace moving parts. The mass is a deterrent to impulsive theft. The structural integrity makes them immune to abuse or vandalism.
Several of the photos in this Gallery are taken by the talented photographer Fred Gilbert
Designed in 1998 by Jaems Garvey, Barbara Marks and Constance Garvey. Built in affiliation with Koenig Ironworks, NYC
Designed in 1998 by James Garvey, Barbara Marks and Constance Garvey. Built in affiliation with Koenig Ironworks, NYC
"What part of Dwight's campus is more symbolic and recognizable than the two double hand-forged iron front doors? These doors, dubbed the "School of Spirits Entrance," were designed by metalsmith artist James Garvey, former Dwight parent (Sara '95, Constance '98, and Noah '99) and the husband of Dwight's architect Barbara Marks, who consulted on the project. The doors were donated to Dwight in 1994.
Directly atop a thick textured granite slab threshold, each door stands 9 feet by 5 feet and weighs 1,000 pounds. For anyone who has ever crossed this portal, you know just how hard it is to open these enormous doors. That, according to the artist, was precisely the point. He wanted students to realize that you need to make an effort to learn, so students "are obliged to overcome their inertia in order to enter." This also had the double meaning that once students were inside this learning community, they would feel safe.
The ornamental design of the doors contains 90 hand-forged figures with upheld arms, interspersed with inverted spike/star-like shapes. Reflecting Dwight's 'Spark of Genius' philosophy, these doors "were designed with the theme of children as stars, whether as individuals or unified as teams, aspiring to even greater heights." One looking closely at the doors may notice that on each of the doors one figure looms larger than the others. Few know that this had been a tribute to Radomir, Dwight's larger-than-life Master Teacher who passed away last year.
Finally, the doors make evident the long hours of hard work and craftsmanship required to produce this architectural metalwork. This reminds students of the work ethic expected at Dwight for them to reach their potential."
from Dwight Today, 2007
The transom above the double doors, reaching 13 feet in height, consists of twenty-five emblems/shields of chased brass, that represent ivy league schools in USA and Europe. The Dwight Crest is a sculptural interpretation by Mr. Garvey based upon the graphic version of the Yale chapter for Dwight. The crests are surrounded by flame-like designs. The flame pattern was actually designed by Garvey's daughter, Constance '98.
URBAN MONKS GATES at the Crosby Hotel
Commissioned by the Owners: Tim and Kit Kemp.
Architect: Paul Taylor
Designed by James Garvey in 2010.
Built by James Garvey in 2011.
I consider this my master work to date…2014
I always returned to a book of Mazzucotelli's work; he dismissed the notion of modern culture that steel is a rigid material. With Barbara Marks, my wife, as my companion, I studied his work at each site in Milan. By his example, a door was opened; I engaged the wonderfully intelligent dialog of form that proceeds in my mind as I am working at the forge.
Based upon my training and experience with pottery, I became convinced that forging is even more plastic and more versatile than clay.
I began to incorporate the logic and harmony that nature uses to make joints and carry loads. At the forge, a number of unique form ideas occurred; the precedent for the Lariat Fixture series is the JG Bend. The transition from the square post in the Central Park Rail was inspired by the Historical Wrought Iron Fence that surrounds Bowling Green Park in Lower Manhattan.
What is the Challenge?
The visual impression needs to 'cross a threshold' so it will 'not be taken for granted'. I believe aesthetic respect is a result of the individual attention contributed by qualified artisans. Because forge work is so labor intensive, there is a temptation to compromise this character.
What is constant?
The technical longevity is guaranteed in the range of 75 years plus. Found objects and 'ready made' components are rare. Armatures are made with solid bar stock, no tubing that tends to rust out from the inside. Gravity is used to perform the 'return action' in the Urban Monks Gate Latch; in order to simplify the components, a single pivot is designed with three-inch diameter pin.
Stands are forged from 1 1/2 inch round.
Base is 3 inch round with three SS anchor bolts.
Urban Monks Bike Stand have a handhold to dismount. They are securely mount onto varying slope surfaces with three ground spheres. One stand can secure three bikes.
loccation: Crosby Hotel, Manhattan
Designed in 1995 by James Garvey. Built in affiliation with Koenig Ironworks, NYC
LARIAT SEAT LOOPS are a good place to rest for the brief period before the train arrives; the vertical bar is a handhold. At the ends, the bar swells to three inches in diameter. Each end is tapped to receive custom bolts. These are tamper proof, forged bronze, hemisphere shaped bolt heads. The 14 lariat Seat Loops at 33rd Street Station serve as architectural earrings, a complement for this National Historic Landmark site.
Designed by James Garvey in 2004.
Built by James Garvey 20011 at the Forge Rockland County.
LARIAT TAPER is derived from the Lariat Seat Loops at 33rd Street Station with two added conceits, the five-foot long forged bronze taper, and the square to round transition at the base. This installation maintains an unbroken rhythm along nine columns on the uptown platform. This functional art work is a compliment for the 1904 precedent that lives on at this Historic National Landmark station.
Central Park Rustic Handrail
by James Garvey 1995
Forged steel 41 feet long
Located along the Central Park Trail at 97th Street and Central Park West, New York City . The rail cantilevers into the path leaving the pavement unobstructed. A permanent public installation sponsored by Central Park Conservancy. It is designed for longevity: using solid materials set firmly into schist bedrock, it should last well into the 22nd century. Says Garvey, "I was inspired to make a friendly fixture that might survive as long as the fence surrounding Bowling Green in the oldest part of manhattan."
Tripod Bicycle Stand
By James Garvey 1991
Forged steel 1/4 scale macquete for full scale version: height 18'
This is a stable structure to be made with solid materials cemented into the pedestrian surface. The design has three suspended chains to reduce the space which the stand occupies when not in use. When it is used to its maximum, two bicycles for each chain and two bicycles for each leg, twelve bikes would increase the surround of the fixture from a 2' to an 8' diameter circle.
COENTIES SLIP Pedestrian Space
designed by James Garvey © 1998
built in affiliation with Koenig Ironworks, NYC
Located in the Financial District of Manhattan at the intersection of Water Street and Coenties Slip this project was completed in late Spring. This lunch time public space was commissioned by the Alliance for Downtown New York, and it is the first implementation of the study conducted by the New York City Planning Commission, The Pedestrianization Program. James Garvey worked in conjunction with The Alliance, the NYCDOT, and the NYCFD to realize this small Park. The work included the layout of the site, the regulatory approval for the project, the design of the fixtures, building the fixtures at the Forge, and the Installation. All of the fixtures which were designed are original concepts which have been developed by James Garvey; they include: 4 Wing Surface Benches, 4 Plank Benches, 2 Lariat Access Gates, 2 Lariat Bollards, and 4 Lariat Litter Stands.
The realization of this project is attributed to Ms. Ann Buttenweiser who acted as the Project Director for the Alliance for Downtown New York.
COENTIES SLIP Pedestrian Space
designed by James Garvey © 1998
WING SURFACE BENCH has fan-like seating that relieves the hesitation to take a seat. The contour of the seat surface and the height of the horizontal arc provide ergonomic support at the small of the back. The corners are rounded and the surface is low. The contour crease and the tight semicircle are a deterrent for sleeping. It can withstand inadvertent contact from maintenance equipment. The longevity is much greater than the conventional park bench with wooden slats.


text:
FRANKFURT, Germany (AP) - Deutsche Telekom has agreed to pay $50.7 billion
for VoiceStream Wireless Corp., giving Europe's biggest telecom company
its first foothold in the United States.
We expect that the deal will face a good deal of static interference from
the US government, as the German Government has a majority ownership of
Deutsche Telekom. However, Deutsche Telekom will offer GSM, which is the
Global Communications standard for wireless communications, allowing the
US wireless digital market to expand at a rapid pace.
pending government and security approval, will receive 50.7 billion (USD).
If the arrangement passes political scrutiny, the advancement of wireless
digital communication within the United States will be rapidly advanced
(Probability 30%). Both the European and Asian digital wireless markets
are approximately 12 - 18 months ahead of the United States in terms of
technological development.
Due to national security concerns we do not believe this foreign acquisition
will be allowed to close. On the off chance that the government approves
the acquisition, we can look forward to a rapid advancement in wireless
digital communications, rivaling functionality found presently in European
Markets. The US wireless market could expect to see faster deployment
of WAP phones coupled with faster deployment of WAP (Wireless Access Protocol)
based applications.

subset: commoncrawl


text:
May 28, 2015
HARROGATE, TN - Following this Saturday's road match-up with NCAA Southeast Region opponent Lees-McRae College in Banner Elk, North Carolina, Josh Schertz and the Lincoln Memorial University men's basketball team will be gearing up to host the 2011 DeBusk/Burchett Hoops Classic next weekend in the Tex Turner Arena.
Ohio State University-Mansfield, Hiwassee College and Carson-Newman College will join the Railsplitters in the event that will begin Friday November 25th and conclude Saturday afternoon.
The tournament will open on Friday evening when the Eagles of Carson-Newman College take on the Tigers of Hiwassee College at 6:00 p.m. Lincoln Memorial University will host Ohio State University-Mansfield at 8:00 p.m. in the nightcap.
On Saturday afternoon, Carson-Newman and OSU-Mansfield square off at 2:00 p.m. in the opeing game of day-two, while the Railsplitters will defend the home floor against Hiwassee at 4:00 p.m.
Tickets for the classic are available at the gates or you can call the LMU athletics office for additional ticket information at 423-869-6285.
Visit lmurailsplitters.com for the latest news and info on Lincoln Memorial University Athletics.
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Post-World War II work
Having written his defense of individual freedom and human dignity, Sartre turned his attention to the concept of social responsibility. For many years he had shown great concern for the poor and the disinherited of all kinds. While a teacher, he had refused to wear a tie, as if he could shed his social class with his tie and thus come closer to the worker. Freedom itself, which at times in his previous writings appeared to be a gratuitous activity that needed no particular aim or purpose to be of value, became a tool for human struggle in his brochure L'Existentialisme est un humanisme (1946; Existentialism and Humanism). Freedom now implied social responsibility. In his novels and plays Sartre began to bring his ethical message to the world at large. He started a four-volume novel in 1945 under the title Les Chemins de la liberté, of which three were eventually written: L'Âge de raison (1945; The Age of Reason), Le Sursis (1945; The Reprieve), and La Mort dans l'âme (1949; Iron in the Soul, or Troubled Sleep). After the publication of the third volume, Sartre changed his mind concerning the usefulness of the novel as a medium of communication and turned back to plays.
What a writer must attempt, said Sartre, is to show man as he is. Nowhere is man more man than when he is in action, and this is exactly what drama portrays. He had already written in this medium during the war, and now one play followed another: Les Mouches (produced 1943; The Flies), Huis-clos (produced 1944, published 1945; In Camera, or No Exit), Les Mains sales (1948; Crime passionel, 1949; U.S. title, Dirty Hands; acting version, Red Gloves), Le Diable et le bon dieu (1951; Lucifer and the Lord), Nekrassov (1955), and Les Séquestrés d'Altona (1959; Loser Wins, or The Condemned of Altona). All the plays, in their emphasis upon the raw hostility of man toward man, seem to be predominantly pessimistic; yet, according to Sartre's own confession, their content does not exclude the possibility of a morality of salvation. Other publications of the same period include a book, Baudelaire (1947), a vaguely ethical study on the French writer and poet Jean Genet titled Saint Genet, comédien et martyr (1952; Saint Genet, Actor and Martyr), and innumerable articles that were published in Les Temps Modernes, the monthly review that Sartre and Simone de Beauvoir founded and edited. These articles were later collected in several volumes under the title Situations.
Political activities
After World War II, Sartre took an active interest in French political movements, and his leanings to the left became more pronounced. He became an outspoken admirer of the Soviet Union, although he did not become a member of the Communist Party. In 1954 he visited the Soviet Union, Scandinavia, Africa, the United States, and Cuba. Upon the entry of Soviet tanks into Budapest in 1956, however, Sartre's hopes for communism were sadly crushed. He wrote in Les Temps Modernes a long article, "Le Fantôme de Staline," that condemned both the Soviet intervention and the submission of the French Communist Party to the dictates of Moscow. Over the years this critical attitude opened the way to a form of "Sartrian Socialism" that would find its expression in a new major work, Critique de la raison dialectique (1960; Eng. trans., of the introduction only, under the title The Problem of Method; U.S. title, Search for a Method). Sartre set out to examine critically the Marxist dialectic and discovered that it was not livable in the Soviet form. Although he still believed that Marxism was the only philosophy for the current times, he conceded that it had become ossified and that, instead of adapting itself to particular situations, it compelled the particular to fit a predetermined universal. Whatever its fundamental, general principles, Marxism must learn to recognize the existential concrete circumstances that differ from one collectivity to another and to respect the individual freedom of man. The Critique, somewhat marred by poor construction, is in fact an impressive and beautiful book, deserving of more attention than it has gained so far. A projected second volume was abandoned. Instead, Sartre prepared for publication Les Mots, for which he was awarded the 1964 Nobel Prize for Literature, an offer that was refused.


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Credit: Photographer:hada
Like all of Panasonic's cordless tools, this new reciprocating saw has undergone independent lab testing to certify its resistance to dust and water. The dual-voltage tool is compatible with the company's 14.4- and 18-volt lithium-ion batteries. Weighing just 7 1/2-pounds, this compact 18-inch-long saw has a 1 1/8-inch stroke and is capable of 2,800 strokes per minute. The kit version includes one 18-volt battery, a charger, and carrying case. Price: $460 (tool only, $240). COO: Japan. 800.405.0652. panasonic.com.
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Philippines protests North Korea's rocket launch
MANILA, Philippines—The Philippines has expressed grave concern over North Korea's plan to launch an observation satellite into space next month, which the Department of Foreign Affairs (DFA) said was "unacceptable."
In a statement, the foreign office strongly urged Pyongyang "not to proceed with its planned rocket launch" between April 12 and 16.
The first stage of North Korea's long-range rocket that supposedly would put a satellite into orbit is projected to fall about 140 kilometers off the South Korean coast while the second stage is tipped to splash down 190 km east of the Philippines, said a wire service report.
The DFA also appealed to North Korea to abide by United Nations Security Council Resolution 1874 and 1718, which call for the "abandonment of its ballistic missile program in a complete, verifiable and irreversible manner."
"We join other governments in urging the Democratic People's Republic of Korea to adhere to its recent pledge for a moratorium on long-range missile launches, together with nuclear tests and uranium enrichment activity," it said.
According to the DFA, "the DPRK's return to confidence-building and engagement with the international community is key to the continued stability and prosperity of the Korean Peninsula and the entire Asia-Pacific region."
The United States, Japan and South Korea see North Korea's plan as a thinly veiled long-range missile test, which would breach a UN ban and violate last month's denuclearization deal with Washington.
Pyongyang's official Korean Central News Agency said such criticism was a "sinister provocation by hostile forces."
It said the north Asian country has a right to peaceful development in space, adding the North Korean government had notified international aviation and maritime bodies of the rocket's flight path.
Next month's rocket launch is timed to coincide with mass celebrations of the 100th anniversary of the birth of the nation's founding president, Kim Il-sung.
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STARmeterSEE RANK
Down 17,467 this week
Colette Marchand (I)
Colette Marchand was born on April 29, 1925 in Paris, France. She is known for her work on Moulin Rouge (1952), Hungarian Rhapsody (1954) and Romantic Youth (1954). See full bio »
Born:in Paris, France
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League of Legends
So if you dodge a troll at the start of a series...
From: SilenVt | #010
you're with people that are also in their promotion match as well.
This is incorrect.
LoL IGN: The Camel Rider
SilenVt posted...
You aren't suppose to dodge in general and I believe that when you start a promotion match, you're with people that are also in their promotion match as well.
1. Wrong
2. See above
Master_striker posted...
From: Camel-Rider | #002From: Jitunu321 | #001
Don't worry Master_striker, Riot fanboys will say and deny anything to defend their heavily flawed matchmaking system.
Well what would be a better solution TC?
just take the hit man, sometimes dodging is necessary but you've gotta take the punishment like a man
if there was no penalty, then people who DON'T dodge for good reasons would be able to do it freely
League of Legends IGN: devilkingx - add me and play with me
Official Raichu of the pokemon X and Y boards
Jitunu321 posted...
Hilariously, I don't really care about my own behavior, I'm pointing out how blatantly awful this design is
So you're proposed solution is to not penalize dodging and just let people pick and choose which ranked matches they want to play, all the while causing trouble for other people who are matched with them?
Posted from my Xbox360 with 360FAQS v1.1
infinitexx posted...
Jitunu321 posted...Hilariously, I don't really care about my own behavior, I'm pointing out how blatantly awful this design is
Yes. It was great when Riot had a timer-only no elo loss punishment for the months it was implemented. You didn't have to deal with trolls and toxic players. There is absolutely nothing wrong with it.
If someone were to "dodge" their way up the elo ranks and eventually play with the better players, they would go back down to the elo they deserve to be at (as all the Riot fanboys love to say). It's a self-correcting system.
If people are so insistent and adamant in playing a match and get mad at dodgers, then they can go play normals or custom games.
This matchmaking is so very wrong and Riot themselves have even stated it is flawed and they hope to change Champion Select and tweak the matchmaking. Blind fanboyism.
i agree with tc on this.
When you're in your promotion it doesn't mean that the rest of your team also is. Plenty of times i've been matched with people in promotion when i'm not.
Also riot has said the reason they give u a very lenient first dodge penalty (-3lp 6 minute wait) is so you can avoid potentially toxic situations.
However by making it so if you dodge you instantly end your series this goes against how they said they want you to be able to dodge potentially toxic situations (which u can do without dodging to pick matchups).
I mean seriously. If the game is about to start and I have 3 teammates fighting, 2 of them saying they're going feed, and those 2 taking "Revive teleport" why am i penalized for avoiding the toxic situation. I can understand if you're in your series if you dodge 2-3 times it should end series. But you should be allowed 1 dodge during your series. Possibly 2 dodges if it's a best of 5.
By allowing 1 dodge this would allow you to avoid the toxic situation where you have the troll that will purposely lose the game for you while not ending your series. However it will prevent you from abusing it to pick and choose your matchups.
Like seriously it's best of 3 but we all know how much it sucks to lose the first game because a troll intentionally feeds and you couldn't dodge it. Then you're forced to win the next 2 because of a previously toxic situation. It's supposed to be best of 3 not win 2 in a row.
I don't mind losing but losing because it's essentially 4v6 is bs.


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The substrate is formed by a stack of sheets of dielectric material (10) at least some of which have conductive patterns thereon (21-24); the substrate has conductive emerging portions (31, 32) for connecting the terminals of the component (1) to at least one internal layer provided with conductive tracks (24) providing layer-to-layer interconnection and interconnection with emerging portions in accordance with a pre-established patterns. According to the invention, the composition of the dielectric material comprises 92% to 98% alumina, and preferably 96%, with a melting agent based on magnesia titanate enabling the maximum firing temperature to be reduced to about 1400° C. The conductive patterns are made of a non-oxidizable metal which is not meltable at high temperature, e.g. palladium or a silver-palladium alloy. The properties of the substrate obtained in this manner are comparable to those of a substrate made of 99.9% ultra-pure alumina. The invention is also applicable to multi-level chip carriers made of this material.
1. A method of manufacturing an interconnection substrate for electronic components formed by sintering a stack of sheets of dielectric material, at least some of said sheets having conductive patterns thereon, said substrate having conductive emerging portions for connecting the terminals of said component(s) with at least one internal sheet being provided with conductive tracks for providing interconnection between layers and with said emerging portions in accordance with a pre-established pattern, wherein the method comprises the steps of:
preparing a raw dielectric composition comprising 92% to 98% Al2 O3 and a melting agent based on magnesia and titania having a composition corresponding to a ratio by weight of TiO2 to MgO in the range of 1:0.5 to 1:6;
forming said raw dielectric composition into individual sheets of material;
making holes through said individual sheets by means of a high speed twist drill, or by means of a punch;
filling the holes with a first metallization ink, said ink comprising an organic vehicle, a free metal from the group consisting of palladium and silver-palladium alloys, and Al2 O3 in a concentration range of 2% to 5%;
silk screening the individual sheets with a deposit of a second metallization ink, said ink comprising an organic vehicle, a free metal from the group including palladium and silver-palladium alloys, the composition of said second metallization ink being substantially free of Al2 O3 ;
stacking the individual sheets;
agglomerating the resulting block of sheets under heat and under pressure;
evacuating the organic vehicle from the inks; and
sintering the agglomerated sheets together by high temperature firing under an oxidizing atmosphere.
2. The method of claim 1, wherein the composition of the first metallization ink further includes a melting agent comprising MgO and SiO2 for reducing the firing temperature of said first metallization ink to a value not greater than the firing temperature of said dielectric composition.
3. The method of claim 2, wherein the SiO2 to Al2 O3 and MgO to Al2 O3 ratios are about 4:1 and 3:1, respectively.
4. The method of claim 1, wherein the composition of the first metallization ink includes 60% to 80% of said free metal.
5. The method of claim 1, wherein the composition of the second metallization ink includes 40% to 60% of palladium.
6. A method according to claim 1, wherein rims are also silk screened at the ends of the holes with a deposit of said first metallization ink on at least one of the top and bottom sheets of the stack.
7. A method according to claim 1, wherein the sheets are held on a base by a vacuum and holes are filled by applying a vacuum to the sheets through a layer of porous paper interposed between the bottom sheet and the base.
8. A method according to claim 1, wherein a hybrid circuit is subsequently added to at least one of the two faces of the substrate made together with its internal interconnections and its internal discrete components, said hybrid circuit being connected to the assembly constituted by the circuitry and the internal discrete components by means of tabs appearing on the substrate.
This is a division of application Ser. No. 679,724, filed 12/10/84.
The present invention relates generally to a substrate for electronic components; it may be required to support a single component (e.g. an integrated circuit chip), or else it may be required to support a set of discrete components which may be active or passive and all connected on the same substrate (a circuit card or a hybrid circuit).
The substrate of the present invention is of the type formed by a sintered stack of sheets of dielectric material, at least some of which have conductive patterns, and having conductive portions (tracks or mere rims) emerging at its surface for subsequent connection to the terminals of the component. At least one internal layer of the substrate is also provided with conductive tracks for providing interconnections between layers (between internal layers or between an internal layer and an upper layer) and with emerging portions following a pre-established pattern.
Alumina is known to have advantageous properties in constituting substrates for electronic components when compared with conventional ceramics: excellent dielectric properties (in particular a small increase in the tangent of the loss angle as a function of frequency); high thermal conductivity (thus avoiding the appearance of hot points and facilitating heat sinking for power components or for very highly integrated components); good mechanical properties; and a good surface state enabling very fine conductors to be applied directly thereto, e.g. by photochemical etching.
The excellent high frequency behavior makes it possible to use such substrates at microwave frequencies or with very high speed logic circuits (having a switching period of about 100 ps) in which conventional ceramics cannot be used.
However, these various advantageous properties are only fully obtained for "ultra-pure" type alumina compositions, i.e. containing at least 99% Al2 O3 and preferably at least 99.9% Al2 O3. Such composition requires high temperature firing, at about 1600° C. to 1800° C., and the purer the alumina, the higher the temperature required.
The compositions currently used for making alumina substrates generally comprise 80% to 96% Al2 O3. The resulting products have about 80% of the mechanical properties and 60% to 70% of the thermal properties of ultra-pure alumina. In contrast, the tangent of the loss angle increases or varies abnormally as a function of frequency, which prevents such alumina being used in microwave applications. Further, the firing temperature remains about 1600° C.
For example, U.S. Pat. No. 4,340,635 describes a composite structure substrate formed on a base of 96.6% alumina covered with a surface layer of 99.4% alumina (the invention of this patent is concerned with obtaining an ultra-pure alumina surface state on alumina which is only 96.6% pure). The firing temperature is 1575° C. to 1675° C. and is preferably 1640° C.
When it is desired to provide an interconnection substrate (i.e. a substrate which includes ab initio buried metallization rather than metallization added to the alumina after firing), this range of temperatures requires the use of refractory metals for making the buried interconnection tracks, e.g. molybdenum or tungsten, or an alloy of these metals (currently used non-oxidizable metals and alloys or have melting temperatures in the range 960° C. (silver) to 1550° C. (palladium), which are lower than the temperatures required for firing, which are about 1600° C.).
A first drawback of this technique results from the oxidizable character of these metals: the substrate must thus be fired under a reducing atmosphere in a controlled atmosphere oven (e.g. under a hydrogen atmosphere). Further, a substrate obtained in this way cannot withstand subsequent firing under an oxidizing atmosphere (e.g. ambient air), e.g. when adding additional surface conducting tracks at a later stage.
A second drawback comes from the formation during cosintering of a mixed diffusion oxide at the metal-alumina interface. Although this feature improves the bonding of conductive tracks on the surface of the substrate, it also has the drawback of forming buried conductors having poor geometry because of the diffusion zones. It is thus not possible to make very fine buried tracks for high density interconnections, nor to eliminate the risk of breaks occurring during cosintering (or short circuits occurring between conductors which are too close together).
A second technique for making interconnection substrates is also known, in which the firing takes place under an oxidizing atmosphere (e.g. ambient air) and at lower temperature, of about 900° C. to 1270° C. To do this, the composition is modified by adding silica to the alumina together with oxides of alkali metals or alkali-earth metals (magnesia, lime, soda, potash) so as to come closer to a porcelain or to a ceramic glass.
It then becomes possible to use non-oxidizable and nonmeltable metals at the maximum temperatures obtained during firing, e.g. palladium, gold, silver or alloys of these metals. European patent specification No. 0 045 877 describes an example of a substrate of this type.
However, the properties of the resulting substrates are not comparable to the properties of substrates made of pure or ultra-pure alumina. The mobility of the alkali additives increases the electrical conductivity of the dielectric, which also becomes temperature sensitive. A high concentration of silica loses the exceptional thermal and mechanical qualities of alumina and comes closer to those of glass (poor thermal conductivity, fragility). In any event, microwave applications are still not possible.
A third technique derived from the second consists in a first step of firing a base of pure or ultra-pure alumina followed by silk screening conductors on its surface, and then covering the conductors with a layer of ceramic glass, and finally firing the assembly at low temperature (850° C. to 900° C.). The steps of silk screening, covering, and firing are then repeated as many times as required to obtain a plurality of buried interconnection levels.
However, the possibilities of this technique are limited to a small number of interconnection levels by virtue of the cummulative diffusion of metal during successive applications of firing. Further, since the intermediate layers are not made of alumina, the electrical and thermal performance of the resulting assembly is limited.
The invention aims at eliminating these drawbacks and at escaping from the compromise solutions of the prior art, by proposing an interconnection substrate of alumina having high performance in spite of being made by means of simplified technology. The invention also aims at providing a method of manufacturing such a substrate.
More precisely, one of the objects of the invention is to obtain an interconnection substrate which combines the properties which, up to now, have been exclusive to ultra-pure alumina, namely: the excellent dielectric properties required for microwave applications; high thermal conductivity enabling effective heat sinking for dissipating high levels of heat generation on a small surface area; directly obtaining a good surface state; low porosity; mechanical robustness; the possibility of providing very thin dielectric layers; the possibility of providing many such layers and at various thicknesses; and uniform shrinkage during firing.
Another aim of the invention is to make it possible to provide interconnection substrates under an oxidizing atmosphere with a maximum firing temperature which is reduced to a value of about 1400° C., which makes it possible, in particular, to employ metals such as palladium and its alloys since they diffuse little or not at all in alumina instead of using oxidizable refractory metals such as molybdenum or tungsten which have been the only metals suitable up to the present.
Another aim of the invention is to provide such a substrate in a single firing operation acting on all the layers of the product, thereby eliminating the defects associated with the methods of applying successive firings.
Another aim of the invention is to provide an interconnection substrate having metallized holes for interconnecting one layer to another, a layer to the surface, and one face of the substrate to the other (hereinafter designated "vias") having excellent cylindrical geometrical characteristics, and ensuring a low reject rate after compression and also after sintering, and in which the metallization of the vias, as well as of the rims formed at the outlets of the vias, bonds particularly well to the substrate.
Because of the absence of diffusion, the use of metals such as palladium and its alloys improves the geometrical quality of the conductors. However, it also has a corresponding drawback of the metal bonding poorly to alumina, unlike tungsten or molybdenum, for example, which form intermediate compounds in the diffusion zone at the metal-alumina interface (see, for example, Otsuka et al "Interfacial bond strengh in alumina ceramics metallized and cofired with tungsten" in Ceramic Bulletin Vol 60, No. 5, 1981). It will be seen that in one of its aspects, the invention provides a way of escaping from this dilemma.
The present invention provides an interconnection substrate for electronic components, the substrate being formed by a sintered stack of sheets of dielectric material, at least some of which include conductive patterns, said substrate having conductive emerging portions for providing links to the terminals of the component(s), with at least one internal layer being provided with conductive tracks ensuring interconnection between layers and having its emerging portions disposed according to a pre-established pattern. According to the invention the composition of the dielectric material comprises 92% to 98% Al2 O3 and a dielectric melting agent based on magnesia titanate having a composition lying in the range (TiO2, 0.5 MgO) and (TiO2, 6 MgO) in such a manner as to reduce the maximum sintering temperature to a value lying in the range 1350° C. to 1450° C., and the conductive patterns are made of a non-oxidizable metal which does not melt at high temperature, or of an alloy of such metals.
(The term "high temperature" is used to designate the maximum temperature required to sinter the component in question).
The reduction in the maximum sintering temperature to values in the range 1350° C. to 1430° C. (and generally 1400° C. to 1410° C.) results from the addition of magnesia titanate to ultra-pure Al2 O3 (99.9%) pure. Magnesia titanate is an agent which is already known, per se, for its advantageous dielectric properties, in particular at microwave frequencies.
The invention is based on the observation of the melt-enhancing properties of the agent in this compound when combined with alumina. Further, and above all, this combination integrally conserves the dielectric, thermal, mechanical, . . . , properties of ultra-pure alumina as will be observed from the properties described in an illustrative example of the composition given below.
Preferably, the proportion of Al2 O3 lies in the range 95% to 97%.
Also preferably, the composition of the melting agent is (TiO2, MgO).
It should be observed, both here and in what follows, that all the proportions of the various constituents are given by weight and for anhydrous constituents.
It is essential to observe that a certain number of precautions must be taken throughout the manufacturing method, both concerning choice of materials and the conduct of the method.
The following requirements are considered as necessary for obtaining all the characteristics in the final product which up until the present were considered as being exclusively the property of ultra-pure alumina:
the granulometry of the composition when in the form of raw material should be in the range 0.2 μm to 0.4 μm; and
there should be no halogenated or alkali compounds and no carbonated residues in any of the agents used either as raw materials or as evanescent materials (i.e. materials which are necessary for preparing and shaping the dielectric sheets but which disappear during sintering).
Such compounds are often present in the products constituting conventional aluminas (e.g. clays) or are added as deflocculating agents (for preparing the slip) or as organic binders or as melting agents. They should be avoided when preparing a substrate in accordance with the invention.
Although it is easier to eliminate them than a binder, it appears desirable also to exclude halogenated solvents (e.g. trichloroethylene).
During sintering, very accurate temperature control is required. It is desirable for the temperature to be uniform to within ±1° C. over the entire surface of the plate.
The conductive patterns are advantageously made of palladium or of a silver-palladium alloy.
The melting point of pure palladium is 1552° C., which is fully compatible with firing the alumina to a temperature of about 1400° C.
If a silver-palladium alloy is used, the proportions of the two metals are so chosen that the melting temperature of the alloy remains below the maximum temperature reached during firing, e.g. an alloy having at least 60% palladium for a firing temperature of 1400° C. (these values are determined from the binary Ag-Pd alloy chart). This makes it possible to take advantage of the highly conductive properties of silver-palladium alloys.
The fact that palladium passes through an oxidizable state between 384° C. and 920° C. is not a difficulty in implementing the invention since, as the temperature drops after firing, the buried metallization is sealed by the sintered dielectric so that the palladium remains in metallic form and any subsequent oxidation is prevented, even during subsequent firing. As for the emerging portions, a protective oxide film is formed on the solid metal but does not impede subsequent soldering or brazing operations.
Advantageously, the layer-to-layer interconnections and the emerging portions are made by means of vias whose metallized coating is based on a metal which is neither oxidizable nor meltable at high temperature or from an alloy of such metals.
In a manner characteristic of the invention, the vias are coated by a metallization ink which is impregnated with Al2 O3, the conductive patterns then being made from an ink which is not impregnated with Al2 O3. Preferably, the composition of the ink impregnated with Al2 O3 comprises an evanescent organic vehicle with 60% to 80% of free metal and 2% to 5% of Al2 O3.
Advantageously, the composition of the ink impregnated with Al2 O3 includes a melting agent based on silica and on magnesia and suitable for reducing the firing temperature of the ink to a value equal to or slightly lower than the firing temperature of the alumina of the substrate. Preferably, the relative proportions of the melting agent and the Al2 O3 are about (Al2 O3, 4SiO2, 3MgO).
As has been mentioned above, palladium (or a silver-palladium alloy) is a metal which does not diffuse in the ceramic. On the contrary, during sintering it shrinks and the higher the concentration of palladium in the ink, the more it shrinks (the ink used for making buried interconnection tracks generally contains 40% to 60% palladium, with the rest being constituted by evanescent organic binders and solvents).
The addition of Al2 O3 to the ink used for metallizing the vias (which is thus not the same as the ink used for the buried conductors) makes it possible to create a ceramic "skeleton" on the inside of the hole during sintering, which skeleton hinders shrinkage of the palladium (which shrinks more than does the ceramic) and makes it possible to obtain an excellent geometry for the via, which retains its cylindrical shape rather than taking up a "barrel" shape.
Further, the formation of a transition zone is observed which ensures a high degree of bonding between the metal and the substrate.
Finally, phenomena associated with creep during compression (holes which close up) and to the formation of splits during sintering are avoided.
The proportion of correctly formed vias is close to 100%, as compared with about 10% when using an ink which is identical to that used for the buried conductors, i.e. an ink which has an alumina impregnated therein.
In contrast, the buried conductors and the conductors on the surface of the substrate are made from an ink with no Al2 O3 impregnated therein, which ensures that they retain good geometry since the palladium does not diffuse.
Advantageously, the rims or openings of the vias are made with the same Al2 O3 -impregnated ink. These rims serve to retain conductors at the surface of the substrate which bond poorly thereto.
The invention thus concerns an interconnection substrate made in the same manner as multilayer printed circuits, i.e. with a plane upper surface that may bear superficial conductive tracks.
On one or other (or both) faces of the substrate, metal tabs may appear corresponding to component terminals (i.e. for capacitors, integrated inductors) which may be isolated or interconnected, or corresponding to the terminals of a buried interconnection network, or a ground plane, . . . . The addition of discrete components connected to these tabs will provide a hybrid circuit, in a manner which is conventional per se.
However, it is also possible for the substrate to form an omnibus base which a user can use and personalize as a function of his own requirements by adding surface interconnections (silk screening conductors or resistances). This is comparable to the technique of using prediffused circuits in active components.
This particularly advantageous characteristic makes it possible, with a substrate in accordance with the invention, to proceed with subsequent firing under an oxidizing atmosphere which is an operation typical of silk screening. Conventionally, inks based on ruthenium or palladium are used which require firing to about 750° C. to 950° C.
The invention also relates to substrates known in the art as "chip carriers", i.e. whose upper surface is stepped over at least two levels. Generally speaking, these substrates have three levels. A lower level, in the middle, serves to support the chip which is generally a large scale integrated circuit; a peripheral intermediate level (having several times the periphery of the lower level itself) is provided with emerging portions for connection to terminals of the chip, while the upper level constitutes a peripheral spacer for sealing to a cover which completely encloses the component and also hides the upper, stepped, surface of the substrate.
Connections to the outside are then made via portions emerging sideways from the substrate, or via metallized holes leading to the surface of the top stage.
In all cases, in addition to in situ interconnections, the excellent dielectric properties of the substrate make it possible to provide internal conductive patterns which operate as a ground plane, as plates for decoupling or filtering capacitors, as power supply lines, or as integrated inductors, or as heat sinks. Thus only resistive components need to be added at the surface.
The invention also concerns a method of manufacturing such substrates, the method providing steps of:
make holes through the raw sheets, by means of a high speed twist drill for sheets thicker than about 250 μm, or by punching thinner sheets:
filling the holes with a metallization ink based on palladium or silver-palladium and which is impregnated with Al2 O3, or with an aluminous ceramic;
silk screening individual sheets of alumina with a deposit of a first metallization ink that is not impregnated with Al2 O3 ;
stacking the individual sheets;
agglomerating the block under heat and under pressure; and
co-sintering by firing at high temperature under an oxidizing atmosphere, and after slow, programmed removal of the organic binders.
Advantageously, during the hole-drilling step, the rims at the ends of the holes are also silk screened with a deposit of the second metallizing ink together with the surface conductors on the substrate with a deposit of the first metallizing ink.
Preferably, the holes are filled in this case by silk screening and sucking the sheets to a base and interposing a sheet of porous paper between the bottom sheet and the base supporting the machine. If necessary this operation may be performed from both sides of the substrate.
Embodiments of the invention are described, by way of example, with reference to the accompanying drawing, in which:
FIG. 1 is a section through a plane substrate in accordance with the invention, on a line I--I of FIG. 2;
FIG. 2 is a plan view of the same substrate;
FIG. 3 is a section view similar to FIG. 1 through a chip carrier having a plurality of levels;
FIG. 4 is a perspective view of the FIG. 3 substrate on its own (without any chips and without its cover); and
FIGS. 5 and 6 show variants of the FIG. 4 embodiment for cases where the external connections are made by means of metallized holes rather than by portions emerging sideways.
FIG. 1 is a section through a substrate 10 (shown in plan in FIG. 2) for supporting an electronic component 1. Although the substrate has been shown for a single component, larger substrates could be used to support and interconnect a plurality of active and passive components placed on the surface thereof.
The substrate 10 is provided with conductive emerging portions such as 31 and 32 for connection to the terminals of the component. These emerging portions may simply be rims to which connection wires will be soldered, or they could also be constituted, as shown, by conductive tracks which extend over the surface of the substrate and which are connected either to external components, or to other components disposed on the same substrate.
The substrate 10 is constituted by a plurality of layers supporting different patterns of conductors and referenced 21 to 24 and mutually interconnected. By way of example, an electrode 21 is shown as constituting a ground plane, an electrode 22 is shown as constituting one plate of a capacitor which, together with the ground plane 21 constitutes a power supply decoupler, and links 23 and 24 serve to interconnect different terminals of a single component or to interconnect the terminals of several components disposed on the same substrate (the pattern of these interconnections is shown by way of example in dashed lines in FIG. 2).
The interconnections between the various layers and with the portions emerging on the surface of the substrate are preferably made by means of metallized holes such as 41 and 42 which pass through various layers to be interconnected (these holes are shown as passing right through the substrate, but they could also be in the form of blind holes).
Such a substrate is manufactured as follows:
initially the individual alumina sheets are glued to a frame, or else sets of several sheets (e.g. 4 to 6) which have already been compressed are glued thereto for forming the various layers of the substrate.
the holes for providing the interconnections are then made by drilling through the raw sheets. The drilling is preferably performed by means of a carbide twist drill rotating at high speed (more than 30,000 rpm) under the guidance of a pattern recognition machine driven by a computer;
the holes are filled with a specific metallization ink, thereby filling the vias for unit sheets of less than 250 μm thickness; the specific metallization ink is different from the ink used for silk screening the conductive patterns (whether internal or on the surface) and includes for example 60% to 80% palladium and 2% to 5% ultrafine Al2 O3, together with melting agents, e.g. 3 parts MgO and 4 parts SiO2 for each part of Al2 O3.
the conductive patterns are then silk screened on each of the sheets in conventional manner using another ink which includes, for example, 40% to 60% palladium together with evanescent solvents and organic binders but not impregnated with Al2 O3 ;
the various sheets prepared in this way are then superposed to form a stack.
Holes passing right through the substrate, of large diameter and through thick sheets are then metallized a second time, if necessary. To do this, a drop of metallization ink is placed thereon and allowed to run down the hole under gravity; the ink may also be deposited by means of a brush inserted in the hole. The ink used is an alumina-impregnated ink, of the same type as that originally used for metallizing the holes.
Advantageously, the sheets are held on a base by suction in conventional manner and a sheet of porous paper (such as filter paper) is interposed so that when the metallization ink is deposited, it is distributed uniformly inside the hole by virtue of the suction; the porous paper also makes it possible to recover excess ink which prevents dirtying the bottom face of the stack.
The stack is then hot agglomerated under pressure into a homogeneous block.
The organic binders and solvents are removed by vacuum treatment followed by a very slow programmed rise in temperature under an oxidizing atmosphere taking into account the intrisic characteristics of the organic materials. This operation may last for a week and is fundamental for obtaining a substrate with perfectly homogeneous characteristics.
The assembly is then fired. This firing takes place at high temperature (1400° C.) and under an oxidizing atmosphere; it may for example take place in a through-passage or a fixed oven for a total duration of ten hours for example.
When required, conductive tracks are applied to the surface by silk screening conductors based on silver or on a silver-palladium alloy or on gold using a melting agent so as to bind to the substrate (a conventional hybrid circuit technique). Resistors and capacitors can also be made by this technique.
Such an interconnection substrate has excellent dielectric and mechanical properties. For example, for a composition comprising 96% alumina and a dielectric melting agent based on magnesia titanate having the formula (TiO2, MgO), the following characteristics are obtained:
dielectric characteristic relative to air: about 9.1;
dielectric strength: about 70 V/μm;
loss angle tangent less than 1.10-4 at 1 MHz;
insulation resistance greater than 1000 GΩ for a thickness of 50 μm and practically unvarying with temperatures, at least up to 200° C.;
uniform shrinkage to within about 0.1% for a 25% shrinkage of an area of 70 mm×70 mm. This value corresponds to an improvement of about one order of magnitude relative to other ceramics (uniformity to within about 1%);
excellent roughness directly obtained by the firing and comparable to 99.9% alumina. This characteristic enables fine lines to be obtained compatible with photolithographic etching;
average porosity less than 1 μm.
From the thermal point of view, it may be observed that the thermal conductivity of alumina is greatly improved by the presence of the conductive tracks which thus play the role of heat sinks.
The conductive patterns generally provide electrical resistance of about 0.01 Ω per square. This value may be reduced by increasing the thickness of the metal layer or by providing a plurality of conductors connected in parallel and distributed over a plurality of layers of the substrate.
Finally, it should be observed that thin dielectric layers may be obtained (25 μm as compared with a minimum of 50 μm for a conventional ceramic) and that the layers may be of different thicknesses. It is also possible to use a very large number of layers (15 to 20 without difficulty) thus providing a very large number of interconnection layers and thus a very high density of conductors per cm2. The number of lays is thus practically unlimited, unlike prior art methods using multiple firings.
The invention is particularly applicable to providing chip supports for integrated circuits in the form of multi-level housings as shown in FIGS. 3 to 5. FIG. 3 shows a substrate having the same structure as shown in FIG. 1 (thus having interconnection links, and optional capacitive components, . . . ), and an intermediate stage on which connections 70 are fitted for connection to the terminals of the component, this substrate is also provided with lateral outputs 71 which are particularly visible in FIG. 4.
An additional stage is formed by a layer 50 which constitutes a spacer for sealing a cover 60 above the support assembly in order to insulate the component and its apparent connections.
FIG. 5 shows a variant in which the side outputs 71 shown in FIG. 4 have been replaced by metallized holes 72 opening out in the top surface thereof.
Another variant is shown in FIG. 6 where the outputs are constituted by pins which are mechanically and electrically fixed in the above-mentioned holes by soldering or brazing.
The outside shape of such packages is generally standardized, for example in accordance with the JEDEC recommendations.
The method of manufacturing these supports is the same as that described above for manufacturing plane supports except that the size of the assembly is smaller (a standard support is half an inch 1/2" (1.3 cm) in size whereas substrates may be as much as 3.5"×7" (about 9×18 cm)).
To make the various levels on the top surface, it is sufficient to add one or more sheets of raw alumina to the stack having a central window of the a corresponding to the lower layer that is to remain visible. The assembly is then stamped by a punch having a profile complementary to that desired.
In the same manner as for a plane substrate it is possible to provide capacitive components, for decoupling and for filtering, a ground plane, integrated inductances, . . . in addition to their interconnections.
Patent Citations
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Boxing: Japan's Yamanaka defends WBC bantamweight title
TOKYO—Japan's Shinsuke Yamanaka defended his World Boxing Council (WBC) bantamweight title with a unanimous points decision over Vic Darchinyan on Friday.
The three judges scored it 117-111, 116-112 and 116-112 in favour of the defending champion.
It was his first defense of the title he won in November last year, improving his record to 16 wins, including 11 KOs, and two draws.
"I defeated a big name. I think everybody will recognize me with this victory," said Yamanaka, 29.
The Armenian-born Darchinyan, who fights for Australia, is ranked fourth in the WBC. He now has 37 wins, including 27 KOs, against four defeats and a draw.
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We have cousins two or three generations back that changed his name from Zerilli to Zerilla. Family was from Terrasini and came to America. His entry into America from Ellis Island was Zerilli. Each time he came and went out of the country he is listed as Zerilli, and when his wife travels to and from America, Ellis Island Records lists that she's coming to be with her husband Zerilli. Yet, for Federal census, and for all intents and purposes he cnhanged his name to Zerilla very early on, if not from day one on American soil and his headstone along with wife and children, and their children are Zerilla. The family through the generations are very upstanding straight forward, fly right members of society of the highest respect. In Terrasini, there is no Zerilla, so why? What does a person think to change his name like that?
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Pinterest may not seem like a natural spot to share your music, but it's actually a great promotional tool—it supports sharing or "pinning" of audio and video as well as photos. Join Bobby Owsinski as he shows how to promote your band, your music, and your gigs on Pinterest. Learn how to start a page, optimize your website or blog for easy pinning, and post pictures, audio, and video to your boards.
Looking for more music marketing tips? See our other courses by music industry insider Bobby Owsinski, including Social Media Basics for Musicians and Bands, Facebook for Musicians and Bands, and YouTube for Musicians and Bands.
While you can find some marketing ideas on simple ways to use Pinterest for promotion, it's also possible to take this a step further using some simple SEO techniques. The first thing to optimize your Pinterest business account for search, is to make sure that your username is straightforward. The field for the name has no character limit, but the real challenge often comes with your user name, which is confined to 15 characters. If your full artist or band name fits, then you're in business. If it doesn't choose something that's memorable, key word conscious, and easy to spell, so that it's clearly associated with your music.
The next thing is to optimize your page's About section. The Pinterest About section provides you with 200 characters of prime keyword real estate, so use this space wisely. 200 characters is actually plenty of space for an overview that covers who, what, and where, and what you do. Also, don't forget to add your website URL in the space provided. Always include a reference link back to your website with your pins, and if you re-pin a post that features your content or products, edit your description to include a full link instead of one that uses a link shortener.
Including a link back to your website, will not only reinforce the fact that the image is associated with your band, but it also makes it possible for the pinner to purchase something or learn more about you. Be aware that Pinterest has been known to mark pins that have shortened links in their description as spam. Hashtags on Pinterest not only allow you to organize your pins by a specific theme or campaign, but they also make your pins a lot more searchable. Use hashtags that pertain to your band or type of music, but also check to see if there's a popular trend that maybe you can associate with.
Get precise with your descriptions, and consider adding your location, gig and merch details, or the audience you'd like to target. Use common keywords that people use to search for things. Follow these suggestions, and you'll find that your boards and pins will be more easily found by your fans and your friends.
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